Everything Begins With An Idea

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Everything Begins With An Idea

Timofey Zhilin


Who influences you graphically?

My graphical influence and apperception lead us to the Charlemagne school because my favourite engraver, Paul Gustave Doré, studied there. His historical paintings and engravings were the biggest inspiration for the main “ozo.art” style. With the exception of   classic art I am a big fan of architecture too. As a result, I wanted to find the golden middle between the two. On an architectural note the most inspirational works were the work from “Superstudio”. Their concepts advised me the most suitable connection between art and architecture that allowed me to leave a small interference in their relations.

 How do you create and add to your archive of images? 

Everything begins with an idea. At the beginning I was merging famous art pieces from my favorite painters with the architecture of their motherlands. The purpose of that was to compare the art styles with a different national architecture. As an addition I wrote small biographies or interesting facts in the description, so my page started to have an educational mood. Also I often used not the most famous paintings or artists. The main aim of that move was to disallow any megalomania of some men. For these works the main parameter was to find the most appropriate connection between art and the architectural landscape. Later,  I decided to change the main style a little and try the affiliational addition of the new category – “Architectural excesses” (Decree “On liquidation of excesses”. CCCPSU. USSR 1955). Through these new works I take one architectural style and upgrade it to the immoral-psychodelic consistency. All the works are followed by the right quotes. so that it is easier for one to dive into the main idea of the  collage.

Are there any specific parameters?

The next important parameter to finding the right images for works is the total visual part of the project. It should be catching and unforgettable as Anestesia subaracnoidea and delicious as risotto alla parmigiana. In this stage the main job focuses around proportions and colors. The composition should be balanced and colors mustn’t conflict between each other.

You construct through fragments, cutting and pasting content from one context to another. What is the purpose of this and effect of this?

The main purpose of that is to connect totally unexpected objects. It was made to allow people to look on the famous trends and tendencies from the different, “opposite” side. For example in T.U.B.U. (My first work in style with excesses) I wanted to show my own look on the situation when an architectural style “brutalism”, in a bit exaggerated and developed into deviant condition met and start to be a neighborhood to a small, not ready for such changes, country. In some consequent works the situation repeats, but the main styles and tendencies change. Also sometimes I add some graphical elements which are made exclusively for certain work and idea. Mostly such additions appear to show monumentalism and scale for different shapes. Instead of that, different kinds of one-point, two-point and other types of perspective grids help in moving apart the flatness of work because one of the largest minuses of the most digital pieces of art consist in fact that projected works will always stay flat, disallowing us to take a look at them from different sides. In my point of view, precisely this parameter is the main difference between digital works and such offshoot in art like sculpture, architecture and others. The biggest priority in “ozo.art” will always be that precisely moving apart the limits and borders, that will entail the maximal dive into the works itself and its idea.

How does this method of construction reflect a specific vision and or reading of the realm of art and architecture?

If we talk about the works with favourite painters and theirs art pieces, we would mostly touch such auxiliary elements of reading the plan like colour, proportion and lightness. Otherwise if we’ll touch more conceptual works, new directions are starting to join us – interiorization and foundation on the facts and examples in cultural and social spheres. This touching of definitely various spheres in my works can provoke heterogeneity of the ideas and meanings of different collages. Plus to that, the diversity of such concepts may attract people from distinctive spheres of activities. This fact can help the project in making versatile and wide audience.

What dictates the way you treat fragments within an image, in terms of colour and texture? 

My own taste.
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