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VLADEY Space presented a new personal exhibition of Sergey Skutaru.
As in the XX century, going beyond the legal culture often gives us a lack of special education. Skutaru is essentially self-taught: he turned to painting, having nothing but a year of college studies and visiting several major museums. In his intensely colored, sharp works, there is no desire for neopremitive and even more so for stylization. But there is its own handwriting and the lack of a framework, which allows the artist to turn into a picture of everything he sees, without making a distinction between random reproduction, nature and memory - and not dividing the phenomena in the main and secondary.
Scutaru's ideas are stunning with elementality in a very complex, sometimes improvisational execution. Huge ribs of the metal ramp in the post-Soviet entrance ring - neither ribs nor skis. Bus light picks up portraits of the face in the salon. The carpet is crawling on a cheap folding chair, suddenly flashing with painted flowers, as in the canvases of Natalia Goncharova. A monumental weed wrapped around the walls of the house, a random group at a stop, a close look at the girl in a cadet uniform. Here there is no obvious border between a figure and abstraction: fragments of spaces and shapes, warped, falling fonts on yoghurt and bottle labels mix into a plastic whole.
The artist himself says that the theme helps him to find a random push fr om the outside, an emotional response that he receives from the world, as a demand to return to the canvas.
In this sense, the brightness and depth of Scutaru's images, his perception of painting as a stream wh ere he occasionally enters with his head, in many ways reminds us of the poetry of Vadim Bannikov - another prominent author of the 2010s and 20s, working against tradition.