1996. The experiments of introduction of modern art in the practice of street portraiture. (Beginning, between contemporary art and street portrait).

Between the street and a portrait of modern art huge distance. Creation of modern outdoor portrait reminiscent Fayum portrait. Two thousand years have passed and nothing has changed. The street is not a portrait of modern art, not street art, not contemporary art …

But my practice is a street portraiture began simultaneously participate in the contemporary art EVROCON project. May 31, 96 I finished training portrait in college, and then we went to meet the modern Swiss artists.

Then I took a folding chair Evgeny Arbeneva, we (to Eugene) took to the “penny” where I have drawn his portrait sauce. This was my second attempt at a street painting. 

The first attempt occurred July 2, 1995. On the advice of Alexis Cousin, my partner on the protection of the geological museum, I redrew sitting on the street, accidentally found on watch, photograph of some stranger. Since then, every July 2nd I redraw this picture. my third exit on the coin was held July 2, 1996.

The project EVROCON foreign (mostly Swiss) artists worked contemporary art at the existing plants. I also participated in the process and at the same painted portraits of contemporary artists. Generally,I am preparing to leave in the Square.

In the square, among its “Fayum” colleagues, I immediately arose a terrible reputation for avant-garde, from the desire to work for François Clouet. Work under Clouet in 96 year, I could not … Before going out in the park, on the advice of Nicolas Fedoreeva, I drew portraits of sauce, and painted them more than a hundred. But the sauce is too difficult material, and I am grateful to tip a street portrait of Vladimir Martynov switched to coal. Since mid-August, I also began to paint portraits in the techniques: dry brush, encaustic, tempera and pencil. These techniques have revealed my weak figure, so I got the idea to take a few
private lessons Alexei shovel and Galizdrina Alexander, who taught at the Architectural Institute.

At the end of the 96 year Galizdrin decided to arrange a grand exhibition in his gallery. For this exhibition came up my \"Kinetically metaphysical project on imaginary Perpetuum, which became (thanks to Oleg error Spruce), genetically-metaphysical. The same Spruce invited me to participate in church paintings. 
I wanted to write, but Spruce invited to do ornaments and I agreed. I bought the book and they painted ornaments on my imaginary eternal motors that became the basis of the exhibition \"genetics, energy, terrorism.

Later chromosomal perpetual motion on the other side I drew the first chromosomal portraits.

Other images 1996