November 17, 2011 - January 10, 2012

“Rendering is a term used in computer graphics for the process of generating an image from a model. The object of the image may be any scene or thing. A typical example of rendering is radar images obtained by radar scanning of cosmic objects. In computer graphics, rendering is commonly understood as the creation of a 2D image based on a 3D model. A renderer is a computer program that produces the final visualization.”

Andrey Gorbunov is continuing the search for a realistic visual language. He develops images that illustrate several themes and topics that run through his art. They may be unappealing to certain viewers, since Gorbunov uses anatomical motifs in his pictures. His canvases are memorable as painstakingly drawn with the pink puffiness, appendages, and pieces of internal organs that are familiar to us from the anatomy textbooks of our schooldays. These physiological fantasies often appear on his canvases in a jeering, showy, glamorous glossy tint, predisposing to the artist those who expect not grace and reflection from art, but aggression and obsessive concentration.

Most of his friends from the “Unconquered” art squat are professional painters who emphatically proclaim their non-participation in postmodernism. However, they have little contact with the older generation of painters from the Leningrad Union of Artists or the “Gaz-Nevsky” community. The artists from the squat artel near Muzhestva square have their own “Mighty Handful” and their own place on the art scene. Their works can be recognized by their formulated manner, which is unsurprising, since many of them moved to contemporary art after graduating from the Muhinsky art academy. The “Unconquered” are very successful commercially; they are exhibited in successful galleries, and always have the attention of well-known collectors.

“Render” is a collage experiment that continues the anatomical variations that have brought fame to Gorbunov. The canvases are pasted with pages from old medical publications and anatomy textbooks. In black marker, they are drawn over with figures of mother and child, faces, emblems used in tattoos, and skulls with grotesque grinning physiognomies that blink on internet banner ads to entice overly-preoccupied users. The drawings partially imitate the painstakingly naïve style of a tattoo. In certain works, there are scenes from the art of the German Renaissance. Others are drafted by the rules of 3D graphics. We don’t see the image itself, but its carcass: the traced grid of a face, the angular framework of hills, or the silhouette of an emblem. These fantasies, deliberately executed as sketches, are arranged in the anatomical motifs habitual for the paintings of Gorbunov.

The collaged canvases are thickly lacquered. Under the varnish, the textbook pages yellow, aging both the drawings stylized as computer graphics, and the flamboyant enlarged tattoos. Gorbunov locks the image in a transitional state, mixing a 3D picture sketch with a tattoo on skin. Varnish dresses these worthless forms in an organic shell. Varnish creates a screen to show these images that are familiar and accessible to everyone. “Render” broadcasts fragments of phantasms, which do not fit either thematically or stylistically into ideas of what is proper to represent in a picture. However, this series of works does not have the ideology characteristic of the collages of the Dadaists, Surrealists, and Constructivists, destroying the traditional visual form and reducing the image to a record of spontaneous psychological processes, ridiculing the bourgeoisie and political elite or illustrating utopian myths. The artist, in this case, does not distance himself from his material. The recombination of ordinary uncensored visual experience is what creates the realism of Andrey Gorbunov.

Stanislav Savitskiy