Exlibris of Halyna D. 1976

Editor: This is Oleksandr Aksinin’s “Exlibris of Halyna D.”, a 1976 etching printed in ink. The whole composition is really intriguing… almost like a stage set. What do you see in this piece, Professor? Curator: It strikes me as a fascinating study in spatial construction and geometric arrangement. Note how Aksinin employs linear perspective, not for mimetic representation, but rather to create a disconcerting, almost dreamlike architecture. The varying densities of lines contribute to the flattening of pictorial depth. Editor: Flattening, how so? Curator: Precisely because the objects float independent of one another rather than interrelate in real space. Observe also the careful balance between rectilinear and curvilinear forms. Do these elements generate tension, harmony, or perhaps both simultaneously? Editor: I see what you mean about the shapes balancing. It almost feels like a meticulously planned visual puzzle. Is it right to see it in this way? Curator: In Formalist terms, to focus on the visual organisation inherent within the image, would be correct. Semiotics, for example, also examines individual components to decode meaning. Notice, too, that each element receives an equivalent degree of attention. No element seems more important. The result is indeed a highly complex surface arrangement with different visual densities that compete against one another. Editor: It’s like each object exists within its own self-contained world, all sharing the same space. This viewpoint on art focuses almost entirely on analyzing the structure, but how do you stop that analytical process from sapping the life from the artwork? Curator: Formalism invites you to actively reconstruct art through attentive contemplation. You participate in a game between intellectual appreciation and intuition. In this regard, life never exits.