Sergey Kostrikov

kostrikov_08_0Born in Sverdlovsk in 1961. Graduated from the CheboksaryArtCollege, MHIAC (formerly the StrogonovCollege), the Department of Monumental Painting, from 1995 a member of the International Federation of Artists, member of the Moscow Artists’ Union. Works held in the CherepovetskMuseum, the Cherkessk Museum Association, in the Vologda Picture Gallery, in private collections in Russian and abroad. Solo exhibitions: the Institute of Fine Arts, Saigon, Gallery A3, Moscow, Brussels, Luxembourg, the Gallery SAM BROOK, Moscow, expositions in the company “PALL” and others.


The basis of the concept is the old antinomy of permanence and disintegration, which, indeed, can be seen in reality, looking at today’s condition of the Egyptian pyramids-ruins. There is no direct analogy here. More likely it is the periphery of the concept, a technical method, only in appearance correlating to the crumbling memorials of the ancient civilization and to the pyramid as a complex worldview symbol, which at some stage was adopted by this civilization and materialized in stone.
And if one has to talk about direct correlations, they are, to a greater degree, exclusive to today’s structure of the world, world order.
The principal “building module” of the idea happened to be the egg, to be more precise, its copy on an enlarged scale. That very maximally naturalized image module with all its semantic baggage is the fundamental principle of the author’s research over many years.
“The Pyramid” is far from being its first use, just maybe the most significant, the most fundamental, if you like. The size of the egg is comparable to the once chosen volume which allows some gradation within the limits of the concrete artistic task.
The egg is absolute fragility, a priori embedded in the utopia of virtual stability. This is the postulate of the virtual, the postulate of the factual side of the disintegration of the constant elements of human civilization, its imagined progress and mimicry of values.
The final shape of the pyramid and its scale appeared as an answer to the proposal by the “Krokin” Gallery to participate in its project “Baroque” in the Moscow Museum of Modern Art.
This “Baroque pyramid” is the pathos of the deconstruction of the archetype of permanence and stability. When the last attempts to bring the initial stringency of form, rooted on the level of genetic memory, to this permanence fail, then the sole possible constant, the constant of the inevitability of the end becomes apparent.

Alexander Petrovichev

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