Eugeny Pavlov
© Eugeny Pavlov
About The Artist:
Eugeny Pavlov (b. 1949) started his engagement in photography in late 1960's and was one of the founders of the Vremya group in 1971. (See Pavlov's 1970 – 1985 work).
Pavlov's oeuvre of 1985 – 2000 continues the two main directions of the previous period: 'straight' black and white photography and sophisticated technical experimentation with form and color.
His black and white sequences (1 x 7, 1988; The God’s Protégés, 1989) and series of paired still lifes (40 Still Lifes, 1998) illustrate the Kharkiv artists' interest in the relationships arising between juxtaposed images and within sequences (e.g. Boris Miknailov's 'Twos' and 'Fours', At Dusk and By the Ground sequences, Misha Pedan's Stereotypes, etc.). Pavlov's still lifes are probably the only examples of this genre by the Kharkiv School artists.
Pavlov’s photomontages of this period reject all attempts at imitating documentary reality: black-and-white and color fragments combined with manual coloring and scratching result in masterful complex images. The artist transforms dust and scratches on film emulsion, ragged edges of torn-out fragments, and other artifacts into elements of his visual language.
In his 1990 – 1994 Total Photography project Pavlov uses all possible techniques available to him to illustrate the project concept that any photographic image (including found material) can be made into a work of art. This approach was perfected in his The Common Field (1996) and Parnography (1998) projects, produced in cooperation with the artist Vladimir Shaposhnikov.
View Portfolio: Still Lifes
View Portfolio: Total Photography
View Portfolio: Montages 1991
View Portfolio: Parnography_Pavlov and Shaposhnikov_1998
View Portfolio: The Common Field_Pavlov and Shaposhnikov_1996
View Portfolio: Archive Series 1983
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