Lot 90
  • 90

Ivan Chuikov, b.1935

Estimate
10,000 - 15,000 GBP
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Description

  • Ivan Chuikov
  • Ring Bouy and Fragment of Ring Bouy, diptych
  • each panel signed in Cyrillic and dated 87 l.r.; further titled in Cyrillic and dated 1987 on reverse
  • alkyd enamel on board
  • larger panel 130 by 180cm., 51 by 70¾in.; smaller panel 106.5 by 120.5cm., 42¾ by 47½in.

Catalogue Note

Ivan Chuikov is recognised as one of the brightest dissident artists despite the fact that he never displayed a political agenda nor exploited Soviet symbols through his art. Indeed his work falls in the non-conformist category as Chuikov because he ignored the official principles of Realism and instead drew inspiration from Malevich's Black Square. Although he was descended from the family of the successful Soviet artist Semen Afanasievich Chuikov, he had a more esoteric vision for his art.  Ivan Chuikov's aim was to investigate the meaning of art through the various mediums available to him.

The diptych Round Buoy is part of a series of work entitled Fragments, which are united by the postmodernist techniques of visual quotation and complex contextual interplay. In Round Buoy the viewer's eye immediately registers similarities between two canvases and, intrigued, is encouraged to look for a way to comprehend them. While at first glance this appears to be a simple game of ''spot the difference'', it exposes the relationship between figurative and non-figurative art and their means of reflecting reality. Moreover, in Fragments Chuikov investigates the value and interdependence of part and whole. The work offers a potential version of complete reality and yet this reality is divided into re-constructed fragments; one of which is the suggestion of a tree, or perhaps even an entire forest. Another visual allusion behind Round Buoy may be a well-known type of IQ test, where one is presented with a sequence of shapes of various complexity and must guess correctly the next logical one in progression.

Chuikov offers us a ''picture in a picture'' effect, where one can perceive simultaneously two different objects or places a few yards or perhaps a few thousand miles apart. The superimposed images are reminiscent of dense overlapping frames of experimental avant-garde films of the French New Wave. Space and time in Chuikov's universe are not in a continuum but can be sliced, recomposed and merged freely. Chiukov's Images are toneless and politically disengaged, able to cross boundaries and exist as a truly universal art.