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With Vasily Tryndyk the essence of contemporary art becomes a new intuition of reality, a dimension in continuous metamorphosis for a visual space, of authentic and deeply felt lyrism. It is winning the strong lightness of his pictoric theme, in the articulated 'putting himself at stake' of his representations which express,even in their individuality a real sharing of the same scenario. Vasily Tryndyk has his studio in Holland, but was born in 1954 in the Republic of Kabardino-Balkarya in a family of artists originating from the Caucasus and Ukraine and the father Nicolai, well known artist , was the first teacher. His formation, already from it's genesis, has singular characteristics due to the spontaneous individuality of his pictoric expressivity, given not only by that word commonly called inspiration, but even, from a continuous growth brought about first in the family and then developed also, between 1972 and 1978 with his studies at the school of art and graphic design Demidov of the Academy of Fine Arts of Leningrad and 10 years later in 1982 with the position of member of the prestigious “Artist Union”, even thanks to his elaborate stylistic perfection. The strong authenticity of his style is reflected in a life dedicated to art and even develops with a research, particularly attentive to the most essential expressive particulars. Protagonist of many successful exhibitions from 1970 to today amongst which we remember in Moscow:
“Sixty years of Soviet Union” in “The Stables” in 1982; the “Central exhibition hall”
in 1985; the “Equestrian exhibition hall” in 1988; until the more recent prestigious exhibitions from Saint Petersburg to Amsterdam. With Vasily Tryndyk we cross a spontaneous, creative and dynamic dimension of visual perception: between archetypes, symbols, tradition and contemporaneity, in an atmosphere which is inseparable from it's mystery. His figures have different dimensions: “because they indicate a heirarchy on the compositional level for perspectives and artistic intent”,they are often: “ without faces to avoid direct references to specific people or races” and to confer a particular interpretation of daily life, observed with an acute introspection of the compositions and the shades of light . They are figures which are in symbiosis with the scenario, to render contextual his careful capacity to unveil the hidden aspects of the visual, with articulated quotations from expressionism, to surrealism, up to metaphysics. Images that constantly merge with the outside elements: figures which advance dancing in an ironic military march, figures which have mouths out of which a face comes out, arms which develop gigantic hands, figures hanging on a hammock on the same tree, balancing, sitting and in equilibrium. Men and women which split from their descriptive meaning to be amplified with the objects: the toy soldier in the fore front, the fisherman with the fish as a trophy, the man with the wheel barrow, the water melon seller who looks like a juggler, the family with the father dressed in white, the mother in red, the daughter in yellow and a cat in between black and gray, to delineate with suffused shades, an emotional scenery where colour becomes the “mood” of the painter, the personification of reality.Figures where even the disposition of the legs, the faces and the bodies,are painted ,some times, as if wantonly unconnected between them to point out the separation and an ideal human harmony. A pictoric world wrapped up in the magic of the fairy tale, where Pinocchio is a part of the artist's love for the theater and the 'commedia dell'arte' and even churches become dreamy enigmas in labyrinths of shades, while women enraptured by the light of the stars, look up in ecstatic surprise.
The art of Vasily Tryndyk testifies a route that away from any classification, identifies itself in a continuous transfiguration of reality. Multiple aspects of a same reality are painted in a creative synthesis of immediate ideation, where the paradoxical becomes natural and even a still life seems as if it has sprung from nowhere,offering us the live fascination of a real presence. In his composition there is always a particular: a cat, an object on the floor, a jar, a lightly hinted at shadow, which bring out, contextualize, put the protagonists of the works in the forefront, characterizing them in their most intimate essence of playful and poetic humanity. The constituitive elements of his paintings are sources of energy, in the context of the surrounding scenography and emerge for luminosity and rhythm, in sequences of essential stylistic elegance.
Vasily Tryndyk perfectly transmits a new aesthetic scenario, which allows it self to be freely interpreted, where the pleasing perception of the shapes is played upon sceneries in movement, soffused games of light and exentiality of reality.The imaginary and the real live a harmonically accomplished synthesis, thanks to the elaboration of a pictoric style based on a continuous research laboratory and to the dancing lightness of his artistic stroke.Art which surprises us by the rhythm of it's ample freedom of interpretation, capable of becoming a dynamic mirror of our perceptions and an open space for a variety of visual perspectives, in dreamy musicality.
The research of the artist on colours is very particular, because he alternates continuous tonal counterpoints with dynamic cromatic combinations suffused but vivid and alive, in a universe of vibrant light.
His artistic poetry is based on:”being creative, conserving tradition, searching for new expressive forms on the basis of the experience of the great artists” and manifests itself in a heart felt reflection on reality, on the daily routine of life , in a multitude of interpretative levels to realize a harmonic unity of coexistance.The artist underlines that :“we should be able to laugh about a problem, making it clearer and less important because everything can be solved, if we are alive”. The rappresentations go ahead of the evoked themes and sometimes ,only hinted at, in a continuous game of rhythm, signs and juxtapositions of images to make us explore between past, present and future, new territories of visual horizons. To transmit to us a sensibility of attentive introspection of the world, with the desire for new awarenesses, that surface instantaneously from his work.Because as he affirms:”I try to render my paintings clear to the frequenters of my study, discovering that it is my works which talk to them and... often they go out with a smile.”. Vasily Tryndyk defines himself a “hunter of pure emotions” and how near it seems the time-space of “being there”, finally in a lightness of open reflection on human nature, in the voyage of the enigma of art between earth and heaven, in the universe of wonder of the most immediate and natural emotions.
Umberto Putzu
“Sixty years of Soviet Union” in “The Stables” in 1982; the “Central exhibition hall”
in 1985; the “Equestrian exhibition hall” in 1988; until the more recent prestigious exhibitions from Saint Petersburg to Amsterdam. With Vasily Tryndyk we cross a spontaneous, creative and dynamic dimension of visual perception: between archetypes, symbols, tradition and contemporaneity, in an atmosphere which is inseparable from it's mystery. His figures have different dimensions: “because they indicate a heirarchy on the compositional level for perspectives and artistic intent”,they are often: “ without faces to avoid direct references to specific people or races” and to confer a particular interpretation of daily life, observed with an acute introspection of the compositions and the shades of light . They are figures which are in symbiosis with the scenario, to render contextual his careful capacity to unveil the hidden aspects of the visual, with articulated quotations from expressionism, to surrealism, up to metaphysics. Images that constantly merge with the outside elements: figures which advance dancing in an ironic military march, figures which have mouths out of which a face comes out, arms which develop gigantic hands, figures hanging on a hammock on the same tree, balancing, sitting and in equilibrium. Men and women which split from their descriptive meaning to be amplified with the objects: the toy soldier in the fore front, the fisherman with the fish as a trophy, the man with the wheel barrow, the water melon seller who looks like a juggler, the family with the father dressed in white, the mother in red, the daughter in yellow and a cat in between black and gray, to delineate with suffused shades, an emotional scenery where colour becomes the “mood” of the painter, the personification of reality.Figures where even the disposition of the legs, the faces and the bodies,are painted ,some times, as if wantonly unconnected between them to point out the separation and an ideal human harmony. A pictoric world wrapped up in the magic of the fairy tale, where Pinocchio is a part of the artist's love for the theater and the 'commedia dell'arte' and even churches become dreamy enigmas in labyrinths of shades, while women enraptured by the light of the stars, look up in ecstatic surprise.
The art of Vasily Tryndyk testifies a route that away from any classification, identifies itself in a continuous transfiguration of reality. Multiple aspects of a same reality are painted in a creative synthesis of immediate ideation, where the paradoxical becomes natural and even a still life seems as if it has sprung from nowhere,offering us the live fascination of a real presence. In his composition there is always a particular: a cat, an object on the floor, a jar, a lightly hinted at shadow, which bring out, contextualize, put the protagonists of the works in the forefront, characterizing them in their most intimate essence of playful and poetic humanity. The constituitive elements of his paintings are sources of energy, in the context of the surrounding scenography and emerge for luminosity and rhythm, in sequences of essential stylistic elegance.
Vasily Tryndyk perfectly transmits a new aesthetic scenario, which allows it self to be freely interpreted, where the pleasing perception of the shapes is played upon sceneries in movement, soffused games of light and exentiality of reality.The imaginary and the real live a harmonically accomplished synthesis, thanks to the elaboration of a pictoric style based on a continuous research laboratory and to the dancing lightness of his artistic stroke.Art which surprises us by the rhythm of it's ample freedom of interpretation, capable of becoming a dynamic mirror of our perceptions and an open space for a variety of visual perspectives, in dreamy musicality.
The research of the artist on colours is very particular, because he alternates continuous tonal counterpoints with dynamic cromatic combinations suffused but vivid and alive, in a universe of vibrant light.
His artistic poetry is based on:”being creative, conserving tradition, searching for new expressive forms on the basis of the experience of the great artists” and manifests itself in a heart felt reflection on reality, on the daily routine of life , in a multitude of interpretative levels to realize a harmonic unity of coexistance.The artist underlines that :“we should be able to laugh about a problem, making it clearer and less important because everything can be solved, if we are alive”. The rappresentations go ahead of the evoked themes and sometimes ,only hinted at, in a continuous game of rhythm, signs and juxtapositions of images to make us explore between past, present and future, new territories of visual horizons. To transmit to us a sensibility of attentive introspection of the world, with the desire for new awarenesses, that surface instantaneously from his work.Because as he affirms:”I try to render my paintings clear to the frequenters of my study, discovering that it is my works which talk to them and... often they go out with a smile.”. Vasily Tryndyk defines himself a “hunter of pure emotions” and how near it seems the time-space of “being there”, finally in a lightness of open reflection on human nature, in the voyage of the enigma of art between earth and heaven, in the universe of wonder of the most immediate and natural emotions.
Umberto Putzu
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