Andrew Buryak a talented artist with his own painting manner

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A combination of many professional features is characteristic to painting of Andrew Buryak and it is rather difficult to point out the one that prevails. His small, half-light paintings are characterized by their internal readiness for expression; they open up vastness for subtexts and wake your imagination. Naive dreaminess, sentimentality and contemplative concentration on intriguing relations of a familiar object, understatement, detachment penetrate into creativity of Andrew Buryak.

Trinkets emphasizing a personage make-up, rolling folds of silk drapery, hands covering faces, scattered seashells and apples - all these elements are born by short joyfulness of everyday life or memories of long-distance trips and they are woven into painting fabric effortlessly, winning an unsophisticated onlooker by attractiveness of theatrical performance.

17.00 it's five o'clockHardly there is a sense to torment our artist with such questions as: what are real allusions in this or that painting. Any album or any other incidental material lying in the artist’s studio is not enough to reveal his creative methods. Among his early works painted in the 90-ies critics noted large textured still-lives and female figures but their real attention was attracted by his narrative paintings where they distinguished artist’s preoccupation with re-thinking of the European cinematography aesthetics, surrealism, citation conceptualism of the 70-ies and primitive. For the generation of Andrew Buryak this methodology was considered as a reaction to the system of formal Soviet culture, as a remedy against uniformity in painters’ training that levels a personality.

On the seasides and images and find his own style for self-expression. It was at that time when painter’s talent disclosed its peculiarities. His works possess a sound foundation that is drawing, color culture and free compositional thinking; these components constitute a core of the artist’s skill. The technology does not distract the painters’ attention from the creative process itself because construction of a picture presupposes his philosophizing. Harmony of tone and color favored by the artist is strict in their combinations and is always subject to an idea for creation of an internal stress. Emphasized theatrical and decorative background sceneries accentuate a subject matter, originate an atmosphere of mysterious understatement or silence. The paintings and made up of figures, objects and landscapes as they appear from a dream. The characters involved in action are rather often depicted with their eyes closed. The presented theme loses its mediocrity in a canvas: the subject matter is generalized, it acquires conciseness and significance without visible accentuation of the event. Emotional power of these works has a gradual effect on a viewer. Such paintings are "Kiss" (2000), "The House of Cards" (2001), "17.00 It's Five O'Clock" (2002), "On the Seaside''(2002) and others. The characters of Andrew Buryak are perceived as a generalized expression of life and spiritual state of the artist’s generation.

The degrees of dreamLast day of summer This painting raises imagination stronger when it contains more understatement. Special quality of Andrew Buryak’s painting is to wake up sui generis cultural and temporal response in his viewers. The artist’s gifted abilities are revealed to everybody depending on his own experience, the panorama of associations and analogies which are at the disposal of a viewer. You can find a lot of setting-up lay-outs fixed by the artist’s attention, short dialogues. Aspiration to narrativeness is expressed in combinations of portrait missions, landscape. The artist repeats some motives in his paintings as it is done in cinematography; he repeats objects, characters, subject matters. The characters of ''The Degrees of Dream''(2002),''Last Day of Summer'' (2002) being incorporated in a composition with overturned and flying chairs and other trivial items reflect not thoughts but subconscious images.

At the same time the extreme accuracy in details (''Still-Life'', ''Sunday'', 2001) serves to create an entirely subjective work of art that does not have direct analogues and where inner vision images are projected. While displacing obsessions, anxiety, tearing up his heart in pictures of busy world the artist overcomes stairs leading his viewer to romantic feelings of hope for a joyful event. High level of professionalism is opened up to a connoisseur of painting in the artist’s work with color where he usually provides a length of tone across its whole amplitude. The artist technique corresponds to a traditional method when an experiment is integrated in fine fabric of an enduring viewer’s interest to painting traditions.

Figurativeness of Andrew Buryak is revealed in those moments when main image contradictions are coded with symbols. Nowadays, from time to time some attempts have been made to look at various phenomena of contemporary art in terms of their relationship to archaic thinking. These efforts lead to such results as new and rather unexpected interpretations of oeuvres, reveal of actual social content in the phenomenon of culture of the past century. Such approach to the art provides an opportunity to observe differently the process of its development in transitional time period and motivates to look at the paintings of Andrew Buryak in terms of their relationship to myths.

An exclusive role belongs to an unnamed character who demonstrates to a viewer a distant but at the same time fundamental paradigm of behavior. Analyzing the processes that have taken place in the modern art, it is necessary to note that in this case we observe the artist’s appeal to "actions" related to "actual" events of the recent past, painting etization, viewer’s orientation on the existing values.

Color acquires a sense of meaning extracting characters from the scenic surroundings. While expanding guessable subject-matters admirers of Art Nouveau can notice similarities with paintings of Giorgio de Chirico and Rene Magritte. Countlessly applied technique depicting a figure with covered face has led to physiognomics. Harlequin costumes, houses of cards, sandy beach scenes are popular symbols of human vanity illusions and these symbols are always with the artist. And all the characters in his paintings "Airplaine" (2001), "Columbus Jamaica" (2002) upraising their eyes and palms to the sky are trying to catch something elusive that is their dream. While making this motion they are ready to fly, they are ready to ascend to the Heavens. Compositions brushed freely and loosely disclose the Master’s Touch who has his own skillful manner of painting.

The Art of Andrew Buryak is a present-day example of harmony of personality, traditions and creativity.

Dr. Mikhail Barazna