Pavlo Makov, one of the main Ukrainian artists today. Even so, the restless nature of his artistic practice saves him from the primitive and stiffened image of the “classical”. From one imprint to another, Makov is confidently building a complicated world of images and reflections. But, at the same time, he allows himself to draw conclusions from previously created works and to surprise. And sometimes - look back.
"Forlorn" is the result of durable, slow, and very reliable dialogue by Pavlo Makov with curators Maria Lanko and Lizaveta German, who came into the artist's studio even before opening the gallery—with the request "to look at early works". One way or another, "Forlorn" symbolically starts the second circle of the curatorial program of the gallery. It focuses on painters of our generation, and the year of creation is an aspect that becomes more and more conditional.
The exposition "Forlorn" unites drawings and etchings of the 1980s and two program works, created specifically for the exhibition. The latter leads to new imagery (humanized vegetation, the contrast of scale of the natural and handmade) and to non-conventional formal language (the combination of printing and drawing, color involvement).
Two narratives and two media are naturally appearing in the selection: city and garden, etching and drawing. New works, as all current Makov, synthesize various signs, images, and types of visuals. They are multilayered, nonlinear, and intangible for interpretation. On the other hand, the old ones appear monolithic and unambiguous. It is a "stiffing" imprint from one board or a drawing with a closed composition. In this sense, no one of the old works speaks fully about the artistic thinking of young Makov and his connection with the modern in itself. But, by showing them together, one meta-work has been created. Because in the 1980s Makov didn't need to print all the “letters" (buildings, trees, aisles between them...) on one sheet, today the wall can become this kind of sheet, on which the open composition with all the elements will develop.
Two new works stimulate thinking about the new order of things in the world. The permanent structure of the labyrinth-city in one work appears trivial and devoid of the monolithic when we see it near a whole and monumental plant in another work. This plant is the product of human cultivation. But now it towers over the shaky world of its creators and isn't a hostage anymore. The human, that is present in the early works, hasn't a place for herself there. It is also absent from the recently dominant human view. Because exactly this view—from the position of "the measure of all things"—was making the plant small and fragile, but the building vice versa - big and strong. Neither artist nor viewer feels like a symbolic owner of the image; but as an observatory, in the best case.
The suggested, by Makov, the duality of "human vs nature", appears as easy as primitive at first sight. But at the exhibition, there is neither condemnation nor call. It simply gives us the minimum of support and warmth in a world in which we are absent.