| Mem Fliigel ist zum Schwung bereil,ich kchrc gem | | | | butterflies and landscapes full of colors, the point of |
| zutuck,dcnn blieb ich auch Icbendlge Zcil,ich hiitte | | | | view which belongs to the observer (numbers...), that |
| wenig Gliick. | | | | of our private and mental investigation. A number is |
| (Gerhard Scholem Grass vom Angclus) | | | | always a symbol of something else which has been |
| We have always been imprisoned by illusions and | | | | thought, in our mind it is a fact, an action together |
| doubts, between a dream of flying and earthly | | | | with his perceptions. We are in a world which is |
| wishes. These uncertainties and obstacles have | | | | gazed by something else, we are the past, illusion and |
| brought progress towards vague horizons, forgetting | | | | hope. A world where we canlive o¬n our |
| the real target that a reasonable mind has been | | | | impressions, taking them from an unidentified |
| searching for centuries: the possibility of flying to | | | | spectator, perhaps an angel flying with open wings, |
| stars, that moral firmament which wraps up our | | | | trying to decipher codes of existence, in the lapse of |
| existence. This infinire pursues Riabow who can't help | | | | a moment fading away. Men and worlds, in Oleg's |
| using numbers, the myth of Icarus and colors which | | | | paintings seem to be without real outlooks. A point |
| remember medieval and ancient paintings. | | | | of view without relativism is instead an observation |
| I am not speaking about metaphors, but about a | | | | reflecting o¬n what has been already perceived. |
| symbol that immediately comes out from his pictures. | | | | Our acts of knowledge are always situated o¬n |
| It seems to me an imagery without motion, a | | | | a superior level, that is what explains estrangement |
| kaleidoscopic difference between colors, like sudden | | | | from the two different levels of the real world, too; |
| insights from the roof of sky, a sort of coming back; | | | | the first is imagery, the world as it is seen by human |
| but perhaps is our unconscious that arranges pictures | | | | reason; the second are numbers and burning colors |
| in such a way. | | | | which o¬nly evoke reason and mind, being |
| There are, I think, two main leitmotivs in Oleg's | | | | impressed and printed in bodies of representation |
| creation: estrangement that also means going away, | | | | itself (even Icarus' butterfly wings remind to a |
| and a point of view without relativism. The observer | | | | definite zymology). |
| (but do we really know who that is?) is situated in a | | | | Who is the observer now? Perhaps that Angelm |
| position that seems going away from representation | | | | Novus by Klee, taken by Walter Benjamin in his |
| shown in the picture: it is not our mind that imagines | | | | essay about philosophy of history. If we accept this |
| a ship fishing in our everyday dish, not our eye | | | | we can say that Oleg's creation is absolutely |
| seeing tumblers or others mythical figures; Oleg, | | | | metaphysical: the angel sight over a world made of |
| leaving out and suspending the natural connection | | | | illusion and uncertainty. |
| between subject and object, gives to his fishes, | | | | |