The main question asked by Viktor Sydorenko in the project "Levitation" - the identification of the individual in post-totalitarian and modern society. Through the image of a unified person in pants, the author explores the mechanisms of adaptation of the individual in society.
On one hand, unification is a lack of freedom, an eternal experience of the totalitarian past. On the other hand - the opportunity to lose yourself and feel free - levitate. The project creates an optical game where all the objects seem to hang in space.

The main question asked by Viktor Sydorenko in the project "Levitation" - the identification of the individual in post-totalitarian and modern society. Through the image of a unified person in pants, the author explores the mechanisms of adaptation of the individual in society.
On one hand, unification is a lack of freedom, an eternal experience of the totalitarian past. On the other hand - the opportunity to lose yourself and feel free - levitate. The project creates an optical game where all the objects seem to hang in space.

The main question asked by Viktor Sydorenko in the project "Levitation" - the identification of the individual in post-totalitarian and modern society. Through the image of a unified person in pants, the author explores the mechanisms of adaptation of the individual in society.
On one hand, unification is a lack of freedom, an eternal experience of the totalitarian past. On the other hand - the opportunity to lose yourself and feel free - levitate. The project creates an optical game where all the objects seem to hang in space.

In his work, the artist often explores where there are restrictions between the past and the present, and whether there are such boundaries at all. Many of his projects are related to the movement in space and time in one way or another, and the "Untimely" series is no exception. "Untimely", or "out of time", according to the artist, is something that exists beyond time.
When a photo is taken, the time is captured along with the subject in front of the camera; when a painting is created, the object itself becomes the canvas, and the time dimension disappears. The artist deliberately "ages" the canvases, "wiping" time.

In his work, the artist often explores where there are restrictions between the past and the present, and whether there are such boundaries at all. Many of his projects are related to the movement in space and time in one way or another, and the "Untimely" series is no exception. "Untimely", or "out of time", according to the artist, is something that exists beyond time.
When a photo is taken, the time is captured along with the subject in front of the camera; when a painting is created, the object itself becomes the canvas, and the time dimension disappears. The artist deliberately "ages" the canvases, "wiping" time.

In his work, the artist often explores where there are restrictions between the past and the present, and whether there are such boundaries at all. Many of his projects are related to the movement in space and time in one way or another, and the "Untimely" series is no exception. "Untimely", or "out of time", according to the artist, is something that exists beyond time.
When a photo is taken, the time is captured along with the subject in front of the camera; when a painting is created, the object itself becomes the canvas, and the time dimension disappears. The artist deliberately "ages" the canvases, "wiping" time.

Back in 1983, a philosopher Mikhail Epstein drew attention to the special "state of the coast", where "you can see the figure of a guard or border trespasser", where there is tension and danger... Almost twenty years later, in 2004, artist Viktor Sidorenko began work on a large series of paintings about Crimean beaches.
Their crowd, the hustle and bustle, the dense concentration of human bodies on the narrow, not always suitable for recreation coast, was perceived as part of the landscape, its integral attribute, where it is always summer and vacation.

Back in 1983, a philosopher Mikhail Epstein drew attention to the special "state of the coast", where "you can see the figure of a guard or border trespasser", where there is tension and danger... Almost twenty years later, in 2004, artist Viktor Sidorenko began work on a large series of paintings about Crimean beaches.
Their crowd, the hustle and bustle, the dense concentration of human bodies on the narrow, not always suitable for recreation coast, was perceived as part of the landscape, its integral attribute, where it is always summer and vacation.

Back in 1983, a philosopher Mikhail Epstein drew attention to the special "state of the coast", where "you can see the figure of a guard or border trespasser", where there is tension and danger... Almost twenty years later, in 2004, artist Viktor Sidorenko began work on a large series of paintings about Crimean beaches.
Their crowd, the hustle and bustle, the dense concentration of human bodies on the narrow, not always suitable for recreation coast, was perceived as part of the landscape, its integral attribute, where it is always summer and vacation.