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Artist Statement
(or The Importance of Being Earnest)
I
The Natural World's diversity is infinite. At the same time, the process of biological creativity on Earth seems to be losing its pace, with more and more species going extinct each year. My Art is an attempt to fill the gap. Where there is a lack of new forms, I help by offering my noosphere.The struggle for new Art - fresh and alive - is a torturous search for harmonious new forms.
It could be the glitter of fish scales, the sudden combination of sounds, or an unpredictable clash of colors that gives me a nudge. Paintings constantly flow off my brush; it is then that such original bytes of information find themselves transformed into variety of new shapes, tones, and styles. Perhaps my paintings could therefore be described as noorons, or, self-improving containers for self-improving knowledge.
Art offers the unique opportunity to play a central role in the genesis of the Universe. In other words, my paintings are like small galaxies refracting light through the prism that is my eyesight and through my Art I offer you the chance to put on a divine set of glasses and enjoy my world.
II
The urge to paint is for me ever-present. Because I try to reflect my impressions of so many things in the world around me, my paintings assume many different forms. I’ve found that the best way to represent my paintings is to dance or sing in response. Because painting is itself a language that has surrendered to sight - being visual art without being verbal - I try not to apply words.
Ideally, the bystander becomes a co-participant or collaborator, engaging his feelings and erudition to parcel out something old, something new, and their ratio, then stands back to appraise and appreciate what he sees. Of course, it is better yet that first he likes it and then he deciphers it more precisely within the larger context of his own emotional experience.
III
Aren't you tired of beating about the bush? To make a long story short, my art is just a funny way to play trick on the spectator. With your eyes wide, open your heart, and reap the benefits of our meeting!
Biography
Nikita Denisenkov was born in 1955 in Ashgabad (Ашхабад) in Turkmenia - Asian part of the former Soviet Union - to the family of a violoncellist.
About Ashgabad
It is possible to say, that he was born in the city which by the time of his birth did not exist, because 7 years before on October 6, 1948, at night, a terrible earthquake occured. Ashgabad, the city with 130-thousand population, which in majority consisted of the houses built of "saman" bricks (the mix of clay with straw dried up on the sun) was completely destroyed in no time and the terrible white veil of dust, shot up in the air in the place of houses, covered the scene.
Here are some rare pictures of old Ashgabad.
The exact number of victims remain unknown till nowadays, but different sources specify that it reached approximately 110 thousand people. Most of the buildings even those which stayed the earthquake turned to be unsuitable to live in and had to be destroyed in the long run.
By the end of 1980 only three constructions survived the earthquake of 1948 in Ashgabad: the building of State Bank, the metal construction of power station and the monument to Lenin.
Time passed and his native city looks different today.
You can also take the night video tour round and about modern Ashgabad.
For Turkmenian people there are three treasures: the water, the horse and the carpet. The ancient Turkmenian proverb says: "Water is life of the Turkman, horse is his wings, and carpet - his soul"
Ruvim Mazel, who established the first art studio in Ashgabad in 1922, named "Avant-Garde Art School of the Orient" out of which the Turkmen Fine Arts grew, wrote almost aphoristic lines about Turkmen carpet: "Turkmenian Art is the carpet which has incorporated everything that is fine in our people's soul - nature, life, history, sky and earth paints. The Turkmenian sings about the carpet, and his intire life is assimilated in carpets' patterns and through these patterns he sees the world at large".
In the early childhood the family moved to the charming corner of Southern Russia, Pyatigorsk - a small resort town surrounded by picturesque mountains with mineral water springs babbling along their slopes. The place was frequented and glorified by poets.
In the 70s he serves in the Army in Weimar and Jena and gets acquainted with German expressionists and modern German painters. Already the postgraduate of pharmaceutical institute he starts to study persistently art skills and tecniques and with a profound portfolio entered the St Petersburg School of Fine Arts, easel devision which he graduated with merit.
He has first traveled to the USA in 1989. With it the long series of travels starts. During his European trips the painter gets acquainted in person with works of his favourite painters and sculptors
Nikita Denisenkov continues his everyday work as a freelance painter in his studio in New York.
Preferences
Mark Strand
The View
For Derek Walcott
This is the place. The chairs are white. The table shines.
The person sitting there stares at the waxen glow.
The wind moves the air around repeatedly,
As if to clear a space. "A space for me," he thinks.
He's always been drawn to the weather of leavetaking,
Arranging it so that grief — even the most intimate —
Might be read from a distance. A long shelf of cloud
Hangs above the open sea with the sun, the sun
Of no distinction, sinking behind it — a mild version
Of the story that is told just once if true, and always too late.
The waitress brings his drink, which he holds
Against the waning light, but just for a moment.
Its red reflection tints his shirt. Slowly the sky becomes darker,
The wind relents, the view sublimes. The violet sweep of it
Seems, in this effortless nightfall, more than a reason
For being there, for seeing it, seems itself a kind
Of happiness, as if that plain fact were enough and would last.
Перспектива
Дереку Уолкотту
Место то самое. Белые стулья, сияющие столы.
Посетитель оцепенело глядит в этот матовый блеск.
Ветер врывается раз за разом, продувая кафе
Насквозь. “Место что надо”, — проскальзывает в уме.
Он всегда признавал роль погоды в ритуале разлук,
Рассчитывая так, чтобы горе — даже самое сокровенное —
Прочитывалось издалека. Длинная гряда облаков
Нависла над морем, за край которого медленно опускается
Бесцветное, тусклое солнце — смягченный вариант
Притчи, что рассказывают лишь раз, и всегда слишком поздно.
Официант приносит бокал, он поднимает его и глядит
Сквозь вино на угасающий свет — один краткий миг.
Красный блик падает на рубашку. Небо все больше темнеет,
Ветер стихает, и даль проясняется. Лиловый простор
Кажется, в этих легчайших сумерках, более чем
Причиной, чтобы покориться и ждать, чем-то вроде
Счастья, и кажется, что это счастье — навек.
As Strand reveals in the opening sentences of "Introduction to Best American Poetry 1991," when he returned home to visit his parents in 1957 and explained his desire to become a poet, he was attending art school. After receiving an undergraduate degree from Antioch College, Strand studied painting with Joseph Albers at Yale, where he received a BFA, before he moved on to the University of Iowa for an MA in English and creative writing at the Iowa Writers' Workshop under the guidance of Donald Justice. Although his priorities shifted during his transition from painting to poetry, Strand has always maintained an active interest in art and art commentary. In recent years, his artwork has sometimes appeared with his poetry. In fact, Strand created the illustration for the book jacket of The Making of a Poem: A Norton Anthology of Poetic Forms and the collage cover art for Blizzard of One. Strand also has written articles and lectured on art, and he has authored three books of art commentary, most notably Hopper (1994), a collection of writings containing perceptive meditations and narratives about Edward Hopper's paintings. Explaining his interest in this subject, Strand writes, "I often feel that the scenes in Edward Hopper paintings are scenes from my own past."
The frozen moments in Hopper's famous paintings parallel the stilled incidents in many of Strand's poems. They share common characteristics, such as their reliance on mystery and tone to evoke emotions among their viewers. Ernest Hemingway once commented, "I learn as much from painters about how to write as from writers," and to some degree this might be said not only of Strand, but of many modern and contemporary poets Strand admires, including Wallace Stevens, John Ashbery, Charles Wright, and another poet-painter, Derek Walcott, to whom Strand dedicates "The View," a lovely work with a solitary figure in a scene that might have come right from a Walcott canvas or just as easily could have been the setting for a Hopper painting. "The View" is the final poem in Blizzard of One.
Just as the atmosphere in which figures find themselves in an Edward Hopper painting — whether outdoors under wide skies, isolated in a room beside a sunlit window, or with others under the artificial night light of electric bulbs — establishes emotional responses from viewers, Strand's descriptive poems and lyrical voice leave similar impressions upon readers.
Painters: Jheronimus Bosch, Pieter Bruegel de Oude, Henri Julien Félix Rousseau, James Rosenquist, Francis Bacon, Max Ernst, Paolo Uccello, Jan van Eyck, Rogier van der Weyden, Jan Vermeer van Delft, Giacomo Balla, Salvador Felipe Jacinto Dalí, Paul Delvaux, Giorgio de Chirico, Joan Miró i Ferrà, Pablo Ruiz Picasso, Hans Memling, Sandro Botticelli, Lucas Cranach, Mathis Gothart (Matthias Grünewald), Caspar David Friedrich, Ernst Ludwig Kirchner, René François Ghislain Magritte, Frères de Limbourg, Franz Radziwill, Michael Lenhardt, Valter Womacka, Werner Tübke.
Jheronimus Bosch
Musicians: Philip Glass, Vangelis, György Sándor Ligeti, Karlheinz Stockhausen, Tangerine Dream, Yann Tiersen, Harold Budd, Michael Nyman, The Beatles, Astor Piazzolla, Jean Michel Jarre, Wolfgang Amadeus Mozart, Franz Joseph Haydn, Arnold Franz Walter Schoenberg, Paul Hindemith, Leoš Janáček, Sofia Gubaidulina, Alfred Schnittke, César Franck, Marcel Dupré, Jóhann Sebástian Bach, Edward Benjamin Britten.
Philip Glass
Writers: James Joyce ("Ulysses"), Joyce Cary ("The Horse's Mouth"), Vladimir Nabokov, Julian Barnes, John Barth, William Somerset Maugham, John Hoyer Updike, Virginia Woolf, Lawrence Durrell, Franz Kafka, Romain Gary.
James Joyce
Architects: Norman Foster, Ieoh Ming Pei, Renzo Piano, Le Corbusier, Kenzo Tange, Alvar Aalto, Frank Lloyd Wright, Antoni Gaudi, Oscar Niemeyer, Ludwig Mies van der Rohe, Zaha Hadid.
Norman Foster, Ieoh Ming Pei, Renzo Piano