Painting, like any other art, is a creative tool for the artist. The plastic, spatial form is the
same type of tool, but requires from the viewer movement around the exhibit in addition to contemplation. In a language not always understandable to the observer, the artist tells us abouthis or her worldview, emotional experiences, and passions.

All creators have their own method of making ideas real, and the talent of a curator is to
find a link connecting various artistic methods and styles. Khvostov unifies color and form, makingthe subject so substantive that reality begins disintegrating into colored patches and correlations.When the viewer begins to believe that he is looking at what amounts to an abstraction, the artistreturns the observer to reality with a distinct drawing and a three-dimensional canvas space.

Korzhov forces the viewer to perceive the plastic form as a tactile riddle. His objects are
like painted patches that have escaped the surface of the canvas and, going against the physics of color, have become figures in space. In these works, the artist deceives the viewer as to thedensity of the material from which they are constructed. He does this through a conflict of forms.The tectonics of his objects is unstable, sometimes appearing to transform right before our eyes.

The exhibition ROUND AROUND, featuring two methods of creating form, invites the
viewer to compare the both ways of observing reality. It is a type of optical training, inevitablyenjoyable for both professionals and spectators.


Kirill Alekseyev, art critic


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