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Valery Koshlyakov, Iconus (n° 4),
Valery Koshlyakov, Iconus (n° 4),
Valery Koshlyakov, Iconus (n° 4),
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Valery Koshlyakov, Iconus (n° 4),
Valery Koshlyakov, Iconus (n° 4),
Valery Koshlyakov, Iconus (n° 4),
Valery Koshlyakov, Iconus (n° 4),
Valery Koshlyakov, Iconus (n° 4),
Valery Koshlyakov, Iconus (n° 4),

Iconus (n° 4), 2011
Valery Koshlyakov

Sculpture : acrylic, wood, plastic

59 x 33 x 27 cm 23.2 x 13 x 10.6 inch

€12,000 12 000 €

One of the last works available by this artist

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Secure delivery : France   + €79
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About the artwork

Type

Unique artwork

Signature

Engraved signature

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Medium

Sculpture: acrylic, wood, plastic

Dimensions cm • inch

59 x 33 x 27 cm 23.2 x 13 x 10.6 inch Height x Width x Depth

Display

The sculpture cannot be displayed outdoors

Tags

Abstract

Mythology

Grey

Artwork sold in perfect condition

Artwork location: France

My spatial objects — iconoses — started from a plane, then grew to volume and further — to space. They are like heirs, freed from their ancestors, from the past culture. These are images of divine values, spatial iconic memories, the search for space for existence, a purely personal place, a monologue, a fence, a cell, a personal temple. … These forms carry the same traces of the influence of Russian home-made: huts, dog kennels, toilets, booths, birdhouses, chapels, trash cans, etc. This amateurish architecture creates an environment that is aggressive, real and free in its form. From this(that that is from icon-painting and traditional construction) were born cubism and Russian constructivism, the best schools experimenting with form"
"Koshlyakov turned to architecture, inventing a new word for his objects: 'iconos' —for designation of a form akin to iconic, associated with ward architecture and, in the artist himself, going back to the buildings built by his father in the dacha. From a formal point of view, Koshlyakov's iconoses are really close to the logic of building architectural forms on an icon with their out-of-order, non-classical and non-functional nature. In they are also well seen and architectural graphics of Russian constructivists, and by the madness of the spontaneously overgrown form in the space they resemble the Schwitters merzbau, gradually filling the interior."

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About the seller

PM GALLERY • France

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Valery Koshlyakov
Valery Koshlyakov
Russian Federation  • 1962

Presentation

Koshlyakov became known as the artist working in an unusual technique — painting on used multi-layered corrugated cardboard. Parts are torn and dangling, exposing the structure of the material and often hiding fragments of the image; the paint is applied on the protruding ribs of the cardboard — all of this creates a 3-D effect, going beyond the boundaries of the picture surface.
In the artist's own words, his pictures are like "frescoes which have faded over time, or like the "artworks" of labourers who painted over an image and then someone else came along and washed that off".

Today, Valery Koshlyakov is one of the most famous and sought-after Russian artists at home and abroad. His paintings have been exhibited in the major museums of Europe and America — the Louvre, the State Russian Museum, the Tretyakov Gallery, the Guggenheim Museums in New York and Bilbao, the Museum of Modern Art in Rome, the Pompidou Centre, and the Kennedy Art Center in Washington. The artist's works are in the collections of the State Tretyakov Gallery (Moscow), the Moscow Museum of Modern Art, the Museum of Modern Art (Avignon, France) and others. He has participated in three Venice Biennales.

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