“I am an artist who has been painting one picture all my life”

His painting once again proves the axiom of the creative form, which always has to be filled with himself.

In the works of Sergiy Hai, there will be enough energy for nuclear power plants. In the triangle of his favorite nature – nude, horse, flower – he manages to encode so much information and concentrate so much vital force that each plot literally becomes an archetype. The impulsiveness of the picturesque manner emphasizes the monumental “rockiness” of the characters. It seems that the author, vigorously scratching the densely superimposed layers of paint, tries in this way to “peel off” the transient biological shell in order to get to the “first form”, to expose the eternal essence of the formula of existence.

Although formally all the characters of Hai are quite abstract and conditional, nevertheless, each of them retains the individuality of the original source. The artist masterfully has the ability to convey the character of the model with one apt gesture. Hai’s manner – a confident contour of a carelessly applied layer of paint, with large pieces of clean background, stains, splashes – in combination with “twilight”, with active contrasting reflexes, color, allows the author to balance on the verge between the impressionism of the moment and the life of the arch.

An important feature of the author’s work is the relationship of his painting experiments with the world artistic heritage, in the context of the development of avant-garde trends of the early 20th century. Like many avant-garde artists, he explores the possibilities of visual language, rethinking tradition and using his own innovative techniques.

Hai’s art is difficult to fit into any framework so carefully preserved by art critics. His emotional living “spots” from afar resemble the masterpieces of neo-expressionism, Fauvism or naivete. Hai does not deny the presence of such elements in the constructed space, but does not agree with their “rethinking” or “domestication”. “The only art that borrowed nothing was the art of ancient Greece. The Greeks had the courage to build an independent culture, and we just come to them, lean over the cradle to gain knowledge and inspiration.



The artist seems to be obsessed with large rhythms, blocks of color contrasts, enriched, complex, general cultural associations. His painting is very architectonic, it is colored architecture, then brutally hedonistic, then gently constructivist. In each of his paintings, there is an invisible strong classical tradition, a monumental canon, a deeply baroque whirlwind of the figure and their dynamic statics. Painting is inherent in a dense press of emotional states, it seems, is already the limit for the pictorial language. The author translates his emotions and conditions into large color contrasts, and he, like Renaissance artists, has learned to truly feel and think through the depicted human body. The artistic forcing of the color to the limit, adjacent to the shock, and the real presence of an open black contour, as a logical call of an anticolor give his painting the opportunity to experience the fullness of the chromatic scale. Black color, contour, line, spot, outline are its distinctive sign and it is perceived in the color orchestration of the picture as a booming African sound, wild, fearless, sacrificially beautiful.

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