e-mail: v-p-valius@narod.ru

 "Ours Isograph", May, 2003

The state showroom "At Kashirka"

«We are together»

Painting, graphics, photos

Valery Valius about an exhibition «We are together».

The father did not have an opportunity to tell: «We are together». When he was alive, I was not the artist. Also I have such a privilege - to speak: «We are together». And I have in view that both of us are exposed «At Kashirka», and a generality of positions concerning functions of art in a life that is completely not obvious because it is a lot of those functions and very different ones, and also I have in view of some visitors to whom our pictures are not alien. Certainly «we are together» also because I "have stolen" at the father all picturesque receptions which only has managed (alas, to "steal" everything was  not possible), however I have made it in relation to the most different painting, beginning somewhere with cave drawings and further on time until to impressions of today. Pictures are so opened - you can take from them what you want, what you can.

Certainly, the father would like, that I was the artist, and he tried in my childhood to persuade me to go to studios and dragged to museums. I liked to look pictures, but to visit studios in no way. I have acquired since the childhood, that there is nothing more boring, than occupation by painting. And there is nothing more interesting for me now. Certainly it is not because I in the childhood did not like to paint pots, flowers, etc., and now have suddenly grown fond. A lot of water has flowed away. And the father has come true as absolutely other artist, than he was during that time when tried to teach me. And my creativity has begun not with realism.

It has begun with photographing visions. At an exhibition some tens such photos are presented incorporated in pair of collages, for convenience. Then I wrote pictures, interpreting these photos. I think, in it do not train in studios, and also in higher educational institutions. More likely, expel from them  for it. Now I do without photos, but it is a technical question, basically it is not important, where you have met vision - in an objective of the camera or in other place, for example, direct on a canvas during work.

How to to learn this? Well, for the beginning, it is necessary to go mad. Ah, you ceased to want it already? As you like. Whether my creativity  is madness? Bypassing the psychiatrists, which unique have the right  to define the person with such diagnosis, I would tell «yes and no». I.e. the more madness is there, than less creativity. And the more creativity, than less madness, but only provided that madness is somewhere beside. Approximately as situation with mind and emotions is: the mind kills feeling, the feeling obscure mind but to who needs mind without feelings, and feelings without brains?

Actively my life became corresponds with art not with the beginning of own creativity, but long before it. After death of the father in 1971 I have started to participate in display of his works to spectators, gave any explanations to pictures. First it was in a cellar of his studio which then was closed, then I myself organized his exhibitions. Let it sometimes did not rise above, than: «Hello, the coat can be hung up here, come in a room, please », - but I did it putting in it myself and with sensation «if not I, who?» And for this time I have firmly acquired, that pictures are written for spectators, for his mind and heart, that the spectator has seen them, and they would sink down in his soul. In general, for the same for what we have got used to go to museums. I have learned, that pictures are not able, and should not be bent on manners «What do you wish?». They have already been written, the artist has died, to change there was nothing. And now, being a working artist, I try to adhere to the same principle. Yes, in general, it is in traditions of Russian, and not only Russian art. Recollect Perov, Fedotov, Vereschagin, adherents of moved exhibitions eventually. They painted problems. Also defended the opinion.

Certainly, and my father, and I are far from realism. But many opening and breaks through are accomplished in painting  since time of adherents of moved exhibitions and it has appeared what to show problems and ideas more convenient without addressing to realism. It turns out more effectively, more expressively, more dynamical. But it is the semantic art focused outside all the same.