|
|
 |
|
|
|
Pavel Pepperstein
Over the Desert
|
|
|
|
|
Pavel Pepperstein's project Over the Desert may be ascribed to contemporary conceptualism. Bridging the contemporary manifestations of this current with 1960s Russian conceptualism, it relies on both historical and current characteristics. Using conceptual art's innate method of representation, alongside the prevalent formalism he conceives of an innovative approach, inserting traditional Buddhist symbols, complete with their original meanings, in the works.
Over the Desert proposes to adopt basic Zen notions in order to balance the political and cultural powers at work in the Middle East in general, and in Jerusalem—the focal point of acute international strife—in particular. His proposal relates primarily to two notions: globalism in the sense of a general culture, and holism which denotes wholeness, totality. His artistic message brings these two concepts together to introduce a local solution which is not autonomous, but rather one variable in the formula of equilibrium of the overall global geographical space. Pepperstein's whole space is stratified and ambiguous, spanning the upper, spiritual worlds and the lower, corporeal worlds. This multidimensional perception is translated into a work of art both visually and symbolically. The upper sphere, which dominates the lower sphere, is interspersed with Buddhist symbols whose combination attests to a future horizon of a stable integration of powers.
Pepperstein likens the act needed to obtain stability to the operation of a lion in the snow, who achieves superiority and mastery by virtue of his freedom of movement which enables him to shift from one state to another at will. In order to enhance and validate his symbolical equilibrium, Pepperstein employs the aforesaid Eastern symbols, even though they have contemporary parallels in Western culture. He outlines a sequence of virtual routes which indicate great communicative ability and utmost consciousness of the immediate and remote setting.
The balanced composition illustrates the idea that symbolical spatial alterations are needed, such as triangle, circle or other emblems, to be installed at various equilibrium points so as to obtain stability. The delicate drawing of the space and symbols is effortless. These authentic signs represents certain aspects of visual wholeness a-la Zen. The visual concept of a horizontal row of symbols is typical to the Buddhist concept of fate regretfully absent from the international sphere, according to the artist. In order to breach consciousness, one must decipher the meanings revealed along the cyclic continuum of symbols, stretched from one horizon to the other. This, Pepperstein emphasizes, requires accumulating power to obtain total domination, on the one hand, and ascetic frugality, on the other. The visual details are indeed typified by asceticism and minimalist precision in terms of both coloration and form, and are arranged in a structure which monitors the work's deciphering.
The project's significance lies in the fusion of Pepperstein's unique perception of the art world with contemporary artistic concepts, and even more conspicuously, in the way in which he harnesses his artistic excellence to responsible contemplation of the global sphere.
|
|