14 November 2008
Last New Piece
about Dashevsky’s Painting
It seems we live in such times, when the external perception of what we have accepted as the strange aesthetics of modernism, is still alive, and even not all of its subtlety is fully digested, while the internal side of it is already dead or at least not up to date. From this point of view the oil paintings of Dashevsky are up-to date and very telling. The existential image of the world as Dashevsky sees it is based on fear mixed with gratitude, tenderness and safeguarding self-irony.
Definitely, as a matter fact, it is said that the Modernism as such is dead since a long time. However it has still signs of life and not least in the creative work of young artists. The visual topics of the Dashevsky’s work are houses in suburban areas, trashcans, microwave ovens, boiling teapots, fridges, railways and even lavatory pans. The subject line is not a problem anymore. The existentialist’s topic of Dashevsky is not the subject as such, but the view onto the subject, its originality, its unexpectedness. The subject itself is not new as a subject to be painted; it has been painted in many different ways a thousand times. But at the same time in Dashevsky’s works it keeps the happy feature to be fantastically disturbing or, if one can say so, clean and fresh. Hence the artist’s task is foremost not to destroy this feature. Indeed, this is a difficult task …
As a rule Dashevsky is a serious and solid painter. He shows cans, pots and buildings with an epic strength. His palette is rather discreet than bright. His lively and thoughtful view occupies the subject fully. The rather dark palette comfortably fits the general seriousness of the topics. Dashevsky’s paintings are slightly solemn, which is unexpected and strange and is most pronounced in his plaine-air works. If one says the artist is fighting against the world’s ugliness, then the master’s manner is not freaky, but simply born out of his struggle for the aesthetical liberty of simple things. This thing could be any article, sourcing its right of existence not only out of functionality, but out of its aesthetical significance. Certainly, true art doesn’t answer questions, but correctly poses them. Dashevsky understands this. That is why his paintings are free of basic blemishes like hysteria, superficiality, irresponsibility and grimacing, spellbound ness of doom and as well free of himself.
There are thousand habitual tasks which we do automatically every day, like a machine. We pay with subway tokens, we heat up the supper on the oven, we knock the ash of a cigarette… The artist aims to rehabilitate the artistic substance of the things while trying not to spoil his subjective view on the same thing. In the final analysis this could be described as a story about love to the universe, where the talented artist sees the universe not like a container of anguish composed of body and mind, but like a subject full of necessity to be protected and sometimes to be justified. This last thought makes the oil paintings of Dashevsky essentially generous.
Vasiliy Kovalev, critic and curator
(Short variant of the Article)
http://www.folioverso.ru/misly/2008_03/kovalev.htm (Full Russian variant)