Lilia Chak registers the Moments. In her works, the accidental, the routine, the perishable becomes aesthetically and compositionally determined, suddenly gaining a new life. Thousands of people did pass by a rusty waterspout, by a door with the paint peeling off, by a fence drawn in and out by kids, by a heap of rubbish. But when along came the artist, and saw it, photographed, enlarged, and framed – it became a good abstract painting. 'Indeed, my works can be perceived as abstract painting, admits Lilia Chak. What is similar to the 'classical' abstract painting, is their objectless and the absence of any narrative. If you remember the works of Kandinsky, Malevithc, Klee and other fathers of abstract painting in early 20th century, it is clear that for them a realistic object or event isonly a trigger or a stimulus for depiction, and it is 'broken and blended' during the work onpainting. As a result, what is left after the object or event is just a subjective feeling'. 'My works are different from the classics of abstractionism. The realistic object does not disappear, but transformed in a computer, stays in the painting. I do not have to 'kill', hide the object and sacrifice it, it is enough for me to see its 'solid' composition and bound it with an appropriate format'. The object for Lilia Chak is the stimulus, the center and the meaning of the work. Her attitude towards it is subjective but she has a possibility to evaluate it 'objectively', as a photographer, also taking the position of the viewer. 'I leave it all as is, however evincing the hidden meanings', she says. Chak finds her subjects in the urban environment. Pulls them out of continuity, and turns compositionally complete. That is the way her Jerusalem comes up – a sad, mysterious, unconceivable city. Подробнее...