Alexander Pogorzhelsky is one of Russia's most promising painters. His collaboration with Gallery 21 began in 2011, and his current exhibition his third collaborative project – presented in partnership with the Moscow Museum of Contemporary Art on Gogolevsky Boulevard.
The artist's output is characterised by his personal and independent outlook at the world around him. For example, art expert Vladimir Levashov noted one very specific characteristic – 'the artist's tactile view lays out the world around him in his own personal way, with no reference to the way others see it”. Yet simultaneously this foundation-stone of the artist's credo isn't merely an independent view, but the communication of his feelings at a single moment, or the 'inner field' of what he sees. It's this very communication of his inner feelings during the process of contemplation that prompts the artist to paint from memory – when the visual image has already become blunted, and emotions shape the new contours. It's this approach that offers us access to the uttermost level of intimacy and meditation.
There are four interrelated sections to the exhibition, made up of sketches made during hiking trips. „The central subjects of this exhibitions are megalithic rocks I'd seen – ancient stone monoliths to be found in all corners of the globe, often referred to as 'Power Point'”, says the artist. Alexander contemplates the people and objects which come before his eyes both in isolation, and in combination with a landscape setting – with the idea of drawing attention to new locations of power to be found in modern-day urban landscapes. We see tourists laden with the usual baggage taken on hiking trips. The artist carefully adds a wealth of superfluous items, since travellers often feel obliged to take the kitchen sink along on their travels. Other figures in the pictures are people who are contemplating the megaliths. They are somehow able to separate themselves from the humdrum items and cameras, in order to sense the majesty of shape of these ancient artifacts, and feel the historical spirit of the location. Our view similarly comes to rest on ancient stone monuments (deer-stones, menhirs) which form the focus of the landscape, and ancient stone carvings that show images of fantastic scenes.
Alexander brings the disparate elements of his compositions together through colour rhythms that draw the observer into his process of contemplation. The depth and perception of the atmosphere play a vital role, which allows the author to believe that „contemporary modern abstract sculpture, which surrounds our everyday life in big cities, almost seems as though it were created under the influence of the peculiar shapes of prehistoric monuments”.
There's a sense in which the author appears to encourage us to think about the loss what is really valuable to mankind. As time slips past, the nature and form of things changes, and our memories are fragmented by the realities of everyday life. This is why such accurate depiction doesn't show the moment itself, but instead the memory of the moment becomes vital and astonishing. Alexander creates landscapes albums, so that the significant moments of life he earnestly wants to share with his viewers are permanently recorded.