On the work of Denis Siniauski

The forms and images in his paintings transform, turn into color splashes, planes, become the echo of recognizable subjects. They are modified but retain the memory of what they represent — events. This recognition happens at the level of perception. “The artist seems to break with “standing on the ground” and dematerializes as an observer...” , fixating on the context of the stop. Denis Siniauski engages in a complex inner monologue, where a painting becomes a label of self-interpretation, an attempt of the translational exploration of reality. His peculiar manner is that which lives through him — his intrinsic attitude towards the world.

The world absorbed by the solid media space, in which everything is information and endless exchange, is, in a sense, a fact of modernity. The artist exists in this flow seeking to slow it down. He proposes a perception mode which is represented via constituting a subject or image in a special way. He elaborates such a way of seeing and understanding the world that brings imagination to the forefront. There’s is no longer a need to wait for the "now of recognizability" (Walter Benjamin) or saturate/fill up one’s sight. In other words, we do not perform the act of contemplating a picture, we directly perceive it. And the natural matter becomes the essential integral component in the formation of an artwork, its magical aspect. Symbolically, the painting reverts to its natural origin: the essential axis of a painting recreates it as a subject of the surrounding world. Thus, art is conceived not only through the experience of human life but also in relation to other forms of organic beings.

We are examining the gaze directed at us while standing under this gaze. We see images of the ocean as if its whole essence were looking at us. The artist captures the very substance of sight, involving the viewer, making them part of the work — combining the human and the natural. The observer turns into a poet, crossing over into the space of “absolute fantasy,” finds themselves to be balancing on the border of the painterly. This language extends its influence beyond the moment of direct communication/dialogue, urges the viewer to get back to learning to see the world, think about it.

“Contemplation of the world was replaced by the penetration into it,” the man achieved “the perfection of the abstraction of modern thinking” — Franz Marc wrote in his aphorisms. World, laws, phenomena and their essence have become unimaginable. On the other hand, there is the desire of art to make "visible that which has been perceived secretly" and the dialogue with nature that is still "an indispensable condition of creativity" (Paul Klee). Artist Denis Siniauski explores the "forming forces": the world of symbols, objects of the well-known outer world, which indirectly indicate the depth of the unknown. These are the stories of real life and the mysterious unknown it contains. Embarking on his quest, the artist makes the pictorial canvas the ultimate goal and evidence of this journey, with its pauses and halts.

Today, a pause is only possible in the field of art. The artist alone is capable of moving the fragments of the past into the present, and objects of the present into the future. There is still a place for slowing down and silent unrest — simultaneously a Platonic cave and the cave of revelation, where the illusory truth can still be found. This invaluable experience of silence, in which there is only an “inhale” and “exhale” — “a breath for the sake of nothing”.