Nikita Pirogov Photography

29/10/2024

Несколько работ из серии "Я и Ты", 2015

17/05/2024

Наконец выложил новую серию на сайт.

Названия были разные - "Продолжение" (под таким названием ранние работы были опубликованы в США), "Мастерство Предков", "По Пути Силы"... Над названием пока думаю. Серия ещё не в окончательном варианте, но уже доступна к просмотру на сайте.

Смотрите по ссылке в первом комментарии.

06/10/2023

Из серии "Продолжение", 2023

07/08/2023

16. Timotheus Tomicek. “Double take”. Tomicek’s work is the work of philosopher in photography. Attempt to obtain the truth is facing the border: of a meaning? perception? essence? being? Attempt to obtain understanding based not on a symbol or sign, not on a verbal perception in Tomicek’s work gets a form of installations where the main method is synergy of images and liberation of semantic fields. At the same time, author carefully constructs reality for transgression not to get a form of a chaos. Constructed spaces that are liberating being in Tomicek’s work are the experiment, where the space itself that author works with and necessary essences that are required for the time/space are the source. These essences allow to relieve authenticity of experience and overcome the borders of perception that author is declaring. Tomicek tells about existence of these borders, and at the same time he decides to look beyond them, to space where total unity of space and time, image and an essence, meaning and form exists. These spaces in the work of an author tells about originality and essentiality of phenomena – as real, material forms, as well as ideas, first causes of objectivity. Harmony, conciseness, minimalism in Tomicek’s work are similar to revelation: he doesn’t need conglomeration of images to reveal searched essence (of a time, feeling, and space). He peers into being and its immaterial basis through very precise images, that allow to experience interaction with the source (light) and surrounding reality, giving a freedom of feeling and perception – and through that experience the transgression. Through his work Tomicek shows modern European perception: originality, naturalness of forms obtained through revelation of metaphysical essences in surrounding environment that are taken from it, and where the man (the viewer) is the goal, consequence, and the original cause of the work. Peering into the man, in conscience, in perception, author through the world of ideas ascends to Absolut which is although eternally unreachable and unknowable, but could be sensually palpable. Showing humanistic point of view on man and grasping human nature, Tomicek looks on modern man as on perceiving, sensuous, vital subject. He knows that borders exist, but also he knows that on the other side there is also exists another (man) and that the source, primordial basis is one and there are no reasons to hide from being and not to overcome imaginary differences. Tomicek’s work is happening in two dimensions at the same time: material, physical world and in the space of ideas, symbolical field. Working with photography, with images, Tomicek shows an essence in space that allows to feel total experience of metaphysical being, overcoming but not destructing the borders, where everyone can choose how much he decides to get involved in common space of mystery, created by an author. Images in his work are the conductors to meta-space which is free from conditional verbal and semantic boundaries. On the one hand, it can be terrifying because to experience the highest Truth, real being, free from categories that are relevant to our social experience and perception is very hard and sometimes even dangerous because the man will have to face his own lowdown. On the other hand, liberating from artificial, superficial and inert author guides us to the space of reborn that changes our perception of ourselves, world, time and life itself, giving a possibility to be deep, high and wide – in limitless space of being: as physical as well as metaphysical, and to feel catharsis. As limitless the universe is, as our earthly form is limited, as uncatchable is unknown and at the same time how few we do actually know: our consciousness, feelings, thoughts – all exists inside us; but comes from the higher space: there is a law exists that is happening and being created in higher spheres, being realized in our earthly life. And if the God cognizes himself through us, if we are the universe ourselves – limitless, immense, unknown – Tomicek evidences about it and opens the door to another world to change us: he open the door of absolute knowledge, though protecting us as if saying: “You are the man, we are people, the world and us is one. There is nothing to be afraid of”.

23/07/2023

15. Anna Kharina. Anna Kharina in her work shows modern feminine perception. Kharina’s feminine photography on the one hand doesn’t follow the trends of feminism, is not aggressive and militant, and on the other hand doesn’t fit into the patriarchal model of the world with its compulsion of women to humility and subordination to men. Kharina works with portrait, showing simplicity and openness, sensuality of her heroes and heroines. Her portraits are full of fire, passion, emotions, and experiences. She takes pictures by instinct, revealing authenticity and purity of feelings in her heroes. Interacting with them through empathy and compassion, Kharina reveals sensuality which is first of all corporeal, baring soul states through that. But desire in Kharina’s work isn’t only sexual; it’s more of a need in interaction, special sort of communication through photography which is similar to dance. Kharina metaphorically dances with her heroes, living with them through their stories, interacting with them from within. Her heroes are experiencing very wide range of states, and she accepts these states as a wise grandmother who knows her children well. She doesn’t judge and doesn’t get surprised by the edges of human experiences, as she understands the unity of form and essence, which allows her to cognize life and human through feeling and spiritually. Kharina enjoys beauty and physicality, as feminine, as well as masculine. Kharina’s dance with her heroes despite its sharpness and closeness emanates from some hidden source, which is a heart. Need in heart interaction in Kharina’s work occurs from need of healing and unity of opposite beginnings. Despite all external vehemence and emotionality, Kharina stays in rest in motion, she realizes that as feminine gives birth to masculine, as well as masculine creates feminine and that they cannot exist one without another. Similar to the ritual dance near the fire of death (feeling), she searches for the possibility to experience the soul merge with her heroes, to feel fullness and heal inner unfreedom, remove the clamp and reach naturalness which can be obtained through trust and liberation on spiritual and physical plans. Kharina accepts the essence of her heroes – as external as well as inner. She is like making love to them, accepting as what’s beautiful in them, as well as what’s ugly, or what they think is ugly but what actually isn’t. Kharina loves photography, loves people, loves to feel and cognize herself and surrounding world through the heart experiencing of a moment of co-existence. In the world full of dry rationality and analysis, which blocks a stream of feelings and in the world, where the feelings are bumbling, not grown and ruined in the beginning of their appearance, Kharina takes on responsibility of sensuous healing and education: she grows, she tames, she protects and directs, and following, and loves, always loves. She dances not the party of androgen, nor the party of a man. Kharina is driven by her heroes, she gives them a possibility to show them to her, and still she knows that the final destination, a goal of interaction is love. Allowing her heroes to bring her there where the love would be palpable she brings there her viewer as well. She idles in action, worrying, stays calm. Swinging on the waves of feeling, and recognizing the source of being – as physical, as well as spiritual, and that the reason we are all here is Love, Kharina contemplates the world and people, accepting them and herself in all the imperfect perfection.

22/07/2023

14. Anastasia Tailakova. Anastasia Tailakova’s work is the work of a collector. Tailakova is a digital nomad, collecting ephemerality, fragility of feelings and experiences of young generation, that has went from analogue reality to digital. Classical in essence, Tailakova’s works are showing a soul of digital age, through her allocution to the first digital cameras as a tool and technique in the age of ultrahigh resolution cameras, virtual reality and artificial intelligence. Tailakova’s nostalgia on authenticity of sensations at the informational age is based on a feeling of an author, working with analogue, though contemporary approach in photography: not through the technique, but through the method. Tailakova “develops” a reality through interaction with it through the feeling that she keeps inside and which is similar to some promise of a retrograde to stay true to herself, do not compromise and do not adapt to anyone. Tailakova creates a portrait of a new generation of vulnerable, finely sensuous, people “with no skin”, who live in reality which is initially hostile towards them. This ‘otherness’ of Tailakova’s lyrical heroine exists in the process that is happening with young generations all over the world. Wishing for change, inspired by youth, modern young people encounter resistance of elder generations, who are way much more conservative, and that are holding on to the “old world”, imposing to the young people the way of life, what to believe in and even what to feel. Tailakova’s lyrical heroine is like Joan of Arc, who decides to go until the end following her inner calling for freedom in the age when the compromise of the crowd reaches its limit. By opening wide her soul, Tailakova gets a special immunity, some sort of a ‘protective layer’ that protects her as a guarding angel and that allows her to see others to their cores, and by seeing the essence, aiming to the ‘developing’, imprinting these states on lo-fi cameras. Tailakova’s method is based on analogue, classical approach to photography. Her pixel light paintings are similar to impressionist art, uncovering sensuality and openness to the world. Tailakova’s wish for a change in relationships between generations is rebellious, riotous, and protest-like. But this protest is not external, it is inner, and is a knowledge that is not understood by elder generations, nor by younger ones, that grows totally in digital word. It is an oath to be oneself until the end, even if she will have to stay alone and die as an author fighting for authenticity of the feeling. But Tailakova is not alone in her fight, she is guided by some spirit that protects her and guides to the new revelations through work and life. A question of fathers and children is eternal, but Tailakova through her uncompromising practice reveals something more: a space of authenticity, intimacy, empathy and verity, where it is possible to be yourself. Collecting these states and working with different genres, Tailakova creates an imprint, image of time, which is litmus test-like, shows truth in any viewer, staying some encrypted reminder about a promise, given by generations of 80’s, 90’s, 2000’s to be those who they are, not trying to pretend, stay alive, despite informational and visual ‘siege’, caused by informational overdose

10/07/2023

13. Liailia Gimadeeva. “Time machine”. In “Time machine” Gimadeeva tells a story of her classmates. It is a project-recollection that gives possibility to come back to the past which is full of hopes, when author and her heroes didn’t yet step into the adult life completely, when they are carefree and can enjoy simple life: communication with friends, studying, thoughts about the future, games, first loves: freedom from worries that youth gives. Gimadeeva gives a possibility to her classmates to dream, to let themselves go, to loosen up, trust each other. This is how they trust their stories to her. Heroes of Gimadeeva want to believe that the future will be good: both for them as well as for their parents and future families. Heroes of “Time machine” are the modern residents of Astrakhan’, southern part of Russia. They are growing up in reality where the government doesn’t interfere in the life of people that much, but on the other hand influences very strongly, creating unpronounceable set of rules, forming some models of behavior, some sort of regulations. This creates routine that is very difficult to overcome for an adult, but which is not cognized by young people. Telling the story of growing up, Gimadeeva shows how her heroes are going farther from the purity of youth and sink into issues of the day, miring in gossip, compromising for survival. Working hard. It is impossible the other way here. But people are hoping for something bright, as well as author does. Who is interested in fates of young citizens of Astrakhan’? A government? A center’s residents? Only their relatives? Or, maybe, only themselves? Gimadeeva is full of hopes and love to her heroes; she tells them that she is not indifferent. She, same as them, believes that the “Golden Time” will come once. But neither heroes nor the author herself do not realize that this “Golden time” is already here, it is happening right now, they are waiting for it, though it is already present. This is how we sometimes are dreaming about something far, not paying attention to what’s happening here and now. Immersed into daily routine Gimadeeva’s heroes through the heaviness of everyday life are dreaming about a change, about some wonder, that could change their lives. As flourishing lotus flowers, these young people are entering the adult life. Or maybe they are adults who keep the seed of special knowledge that youth has given them?.. Author through her work is constantly sending her heroes, and the viewer with them – to the past: “Do you remember that?”, “Did that came true?”, “Do you feel the same way as before?” Gimadeeva’s “Time machine” is the story of generation that is becoming lost, slowly fading, growing up - on the one hand, but on the other hand author through her work is trying to save her heroes and a viewer from this lostness and oblivion: she wants to believe that it won’t happen and that everything will change in the future, or will return to the state where it was when they all have been studying and living together, trusting each other aiming to the future with hope. Probably, this work is about experience of growing up that every person experiences. But Gimadeeva’s voice and her work – is a magical casket with melody that brings back youth. At least for the time while we’re watching the images. “Time machine” is similar to a heart talk with a close friend. The project is giving a viewer a possibility to overcome the routine, plunge into the water of sincerity, believe again that everything is possible; it gives hope and awareness that the “Golden time” – both now and then. Always.

29/06/2023

12. Petr Antonov. “Ruins”. Petr Antonov takes images of destroyed, collapsing temples. Antonov’s ruins are similar to lost, unreachable, Promised Land of total happiness that though being ruined still exist through his work. Antonov shows Orthodox Christianity as some fundamental experience: a premonition of super valuableness of being because of divine purpose and super goal of earthly life that is just a special case of being, that prepares a man to eternal life. At the same time asceticism, vanity of worldly life, perishability is relevant to the work. Despite this, romantic feeling of still not lost knowledge and a possibility of a new bloom (of a spirituality? culture? or maybe something we don’t know about?) is also present in the project. However, ruins in the work of Antonov are symbolizing not much a culture or a spirituality of modern Russia, but resurrecting a space which is forgotten and lost; knowledge that has been here someday in the past, and that Antonov tries to keep, save from total disappearance. One of the main questions of Antonov is: “where are those God-bearing people” and “pious ancestors”, were they ever existing? Destroyed temples, being ruled by nature are regenerating and presenting a new state of sacredness. Squalor (in-deity) of ruins, forgotten, standing on the wastelands or in vanished, abandoned villages, existing out of time are symbolizing a victory of life over death. At the first glance it seems that temples are dead, but they are actually in the power of nature, they have been reborn into something new and despite the fact that they are destroyed, the life is pulsating through them as if the nature itself were serving a prayer here. These dead-alive constructions that has overcame itself, are existing between the heaven and earth at the same time, and are metaphors of the life process itself, of our existence, constantly resurrecting awareness of being. Or maybe it is a soul, aiming to the sky, but living on a ground that has let it go and which obtains a new state of a prayer. Presence of Christ in these places, and consequently, in works, feels stronger than in new temples and their photographs. Antonov enjoys peace, spirit of the abandoned shrines. He finds pacification and reconciliation with reality, with earthly life, life in modern Russia, with time in which we live - in the process of shooting. Compositionally and in color close to perfection classical landscapes are revealing compassion and at the same time melancholy, relevant to the author, that are linked to the experience about the fate of the motherland, culture, time, modern man and the world as a whole. Though obtaining peace through the shooting, author transfers to the viewer a feeling of fullness and serenity. “All is the will of God” – say the ruins and Antonov echoes them. Antonov, who ‘has seen the evening light’ through his work transfers some special state that he draws as from faith, as well as from nature, bringing a viewer the feeling of quiet grace, good news about possible resurrection, and overcoming of the death. Shooting a classical landscape, Antonov creates majestic monuments of the time – as a present, as well as past and future. Peering into destroyed temples as if he was peering into modernity, timelessness or eternity itself he is like saying us: “This will pass too”. Dying, our body is coming back to earth, to be eaten by worms, and the soul goes to another age. Same in Antonov’s work: something has died, but something totally different has been born on its place. Maybe, it is Russia itself has died and resurrected in an attempt to obtain something ancient and forgotten, but discovering something brand new. And if His Spirit, immortal Soul went to another age, to other space, if we are left alone, we still remember that they exist, and Antonov’s works are the evidence of it, that are waiting, waiting for His return.

24/06/2023

11. Alexis Vasilikos. Alexis Vasilikos is a prophet. He uses photography as a tool that helps him to spread a special knowledge and that he gets from philosophy, studying the nature of the world and a man, and photography as a medium (light). Working with light, Vasilikos seeks to obtain and reveal universal Truth, though staying in course of European photography and historical context of (Greek) democracy in his work. He seeks for a way to show some invisible but existing source that is formed differently in different religions. He tries to invent a language that could overcome the external form of the religious teachings and reveal the essence that photography as an art is working with. Talking simply, Vasilikos through his work sends a message about Love, as divine, as well as human. Vasilikos appears as a medium in his work, working with metaphor as a tool, fixating things that are casual, ordinary at the first glance. But beyond this simplicity there is another layer – situation where these works are created is full of love of an author both for his heroes (be at a phenomena, human being, God, landscape or nature), as well as for the essence the author is working with: for the light. Ascent of Vasilikos in the world of philosophy of photography and appearance of some uncatchable substance in his work gives an author a possibility to exist in two different aspects: a human, staying modern European, and a medium, when he overcomes human nature and is able to feel and conduct some meta-feeling, that he scoops from the source that all his works are telling us about. In his human aspect Vasilikos is working with the theme of personality that he gets from a tradition of the ancient Greek theatre and on which all the Western perception is based. To stay human author uses a mask that is applicable to actors of the ancient Greek tragedy. But he peers into this mask, into the basis of personality, in what creates social aspect of our existence, and through the work of a second, medium aspect, overcomes, but does not destruct it: merging with it and dissolves it as a maya, illusion, at the same time; to reveal authentic Love, authentic Light, a Source, initial principle - as spiritual, as well as physical. Photographic preachings of Vasilikos are full of simplicity, lightness, and volume. He immerses a viewer into such space where he/she feels care, warmth, happiness and compassion. Through the very gently, careful attitude to man Vasilikos tells that we all are One, part of a whole, a piece of God, and that we ourselves and the world around us – is God. And when we realize it, the hatred, pain and misunderstanding – what is caused by our artificial “personality” is going away. Liberating from personality, Vasilikos is preaching about peace and possible Paradise on Earth. Who knows, maybe Vasilikos is God himself. Or, maybe, we all are God and there is nothing that could stop us from change, transfiguration of the world around to the better way, where love itself would be a new religion.

10/06/2023

Рад поделиться групповой выставкой в США.

100 художников со всего мира. От меня - натюрморт с хазарским подношением. Смотрите по ссылке.

It’s an honor to be able to celebrate Fraction’s 15th year with our photo community. Thank you all for your continued interest and support! We are excited to share this year’s Anniversary Issue, featuring a wide variety of images from 100 photographers – we hope you enjoy the Group Exhibitio...

01/06/2023

Mariya Kozhanova. In her project “All flesh is grass” Kozhanova captures states of the nature in different seasons. Time passes, something changes, and something lasts. Kozhanova isn’t aiming to create anything in this work, but tries to synchronize with nature to obtain some sort of a rhythm and show a regularity of phenomena, the cycle of things in nature. In her journey everything is coming back to its place, where it came from. After death there is a birth, after birth there is growth, then bloom, then fading, death and birth again. Kozhanova tries to coincide with the states of nature, to reveal cyclicality and to convey to the viewer the awareness of the laws and naturalness of things and events, despite the aggression coming from culture, civilization; which is superstructure to nature and that tries to enslave it; that uses it. “All flesh is grass” is a lullaby to the Mother Earth, appealing to the life itself, to the origin that has given us our earthly life. Kozhanova observes changeability of the surrounding environment with love: she tries to accept everything – feelings, thoughts, and states in the same way as the planet does – accepting all creatures at all times, all phenomena. “All flesh is grass” tells about synchrony with the planetary cyclicality, exposing solitary, natural, harmonious state, letting go of all external anxiety and contradictions. In our earthly life we do pay a lot of attention to what we create ourselves: a way of life, interaction with others, mode of life, work, etc.. But the nature – ever-changing, all-accepting, gives us a possibility to create and build our lives, stays unchangeable in its constant changeability. Whatever we do, whoever we are, whatever our age is, whatever differences we have – the nature accepts all, keeping in itself a possibility for differences to coexist, though not always peacefully. Poetic diary of Kozhanova is the comprehension on the nature of life itself that uncovers a possibility to free up from expectations, fears and doubts infused by civilization. But it is also a tribute to the physical, tangible, real Earth, with all its wonders and contradictions.