Metaphysical essence of the unfriendly moralization toward a deluded victim, 2026
Painting : pencil, marker, sanguine · 41.9 x 26.7 x 0.6 cm 16.5 x 10.5 x 0.25 inch
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Shipped from: Canada
Delivery to: United States , $ 65
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About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
pencil , marker , sanguine on Fine art paper
Dimensions ( cm • inch )
41.9 x 26.7 x 0.6 cm 16.5 x 10.5 x 0.25 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2020
Discount
This seller offers discount when you purchase multiple artworks.
Description
The dominant emotional tension here is asymmetric vulnerability. The large central form looks like a swollen, protective, almost womb-like mass — but inside it sits a compressed sphere, like a heart, a seed, or a conscience.
This creates the feeling that the “victim" is not empty or weak - it contains something dense and alive.
The smaller human figure is fragile, sharply individualized, and emotionally exposed. His gaze is directed upward - not aggressive, but searching, confused, and dependent.
Above him, however, floats a much larger distorted face, whose expression is neither compassionate nor openly violent. It is cold, contemplative, and distant.
It means that a person is being examined, evaluated, and morally judged by something much larger and less human. The long spiral lines and thin, wiry figures around the head feel like arguments, rationalizations, ideological threads, and moral “logic" wrapping around the situation. They don't connect emotionally - they only bind.
There is a key psychological contrast – the scale. The victim is small and concrete. The moralizing presence is large and amorphous. This implies that the judging force is not a single person - it is something: institutional, ideological, and symbolic. The victim is individualized. The moral voice is not. This piece is not about loud cruelty. It is about polite, abstract, and superior cruelty. The key meaning is moral judgement has become detached from human reality and morality that is no longer rooted in lived suffering.
Important: Artwork sold with mat.
Presentation
Vladimir Kolosov is a Canadian painter born in 1962, renowned for his multidisciplinary approach and distinctive neo-surrealist style. Originally from the USSR, he emigrated to Canada in 2006 and currently resides in Maple Ridge, British Columbia. From a young age, Kolosov was immersed in visual arts and music, developing an artistic sensibility that is reflected in his works. His academic background is extensive, including studies in fine arts, music, mathematics, physics, psychology, and business management, giving him a unique perspective on his artistic practice.
His work is characterized by an exploration of inner and outer worlds, using a variety of mediums such as oil, acrylic, watercolor, and pastels . Kolosov is recognized as a skilled colorist, creating compositions where colors play a central role in expressing emotions, contradictions, and contrasts. His paintings, often imbued with symbolism and metaphors, invite the viewer to reflect deeply on themes such as memory, time, identity, and the human condition.
Notable works include "Melancholic Observations of the Echoes from the Past," "Landscape with Levitating Metaphysical Still Life and Its Shadows," and "Hidden Thoughts Are Leaking Out." These pieces illustrate his ability to merge figurative and abstract elements to create enigmatic and evocative scenes. His style is influenced by artistic movements such as surrealism, metaphysical art, and abstract expressionism.
Kolosov has exhibited his work in various countries, including Canada, the United States, France, Germany, Italy, the United Kingdom, Slovakia, and Switzerland. He has also participated in interdisciplinary projects, such as the VOYZX Exhibition of Contemporary Surrealism in Vancouver in 2019 and 2021, and the international project Colours of My Ice-Dreams in collaboration with Carpigiani Gelato University and the Gelato Museum in Italy.
In addition to his artistic practice, Kolosov is an active art critic and curator. He has published essays on contemporary surrealism in international journals such as VOYZX Art, Surrealismo International (Spain), and Agulha Revista de Cultura (Brazil). His most recent book, “Vladimir Kolosov Through the Looking Glass" (VOYZX Press, 2022), offers an in-depth retrospective of his work.
A member of the AICA/IAAC (International Association of Art Critics) and the Vancouver Queer Art Festival, Kolosov continues to influence the contemporary art scene with his introspective approach and commitment to exploring the complexities of human experience through art.
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