Kuzma Vostrikov is an explosive artist that defies categorisation. Terms such as Pop Art, Postmodernism and Avant- garde easily suggest themselves when faced with Kuzma’s work for the first time. He also has a background in film having worked as a producer, director and cinematographer, so easy comparisons with the cult figure of Andy Warhol are perhaps inevitable.
This background has obviously influenced his work in photography and digital imaging, and his widescreen, cinematic approach to his work is self-evident. It is probably a natural arena for the multi- disciplinary artist. There are also elements of Performance Art in his work, in the way that he uses the human body, his one in particular, as a sculptural element in the composition.
Kuzma’s figures seem to exist in an aseptic, impersonal dimension. We are easily engaged in a two-way exchange of emotions with the figures that resemble us most and through these, we acknowledge the presence of the figures that do not belong to the sphere of our everyday life. Nonetheless we can see, maybe hear or even sense them in their alien representation of the message, always delivered with underlying irony, on our lifelong search for the incoherent duality between glamour and simplicity.
Symbols of power and consumerism are exaggerated, excessive, hyperbolic and magnified in their imposing and grandiosely preponderant presence. All is envisaged through the filter of a virtuality that has coerced us into a false sense of potency and control over the illusory reality created by technological advancements in communication mediums. Themes that were central to philosophical, moral, ethical and socio-political debates are faced with an emoticon filled smiley, light-hearted, superficiality which mirrors our times, our smartphone dimension, our 4.5” universe.
If, as Leonard Baskin said, “Pop Art is the inedible raised to the unspeakable”, then Kuzma Vostrikov’s art is the haute cuisine of the cult of the social media modernity.
International Confederation of Art Critics