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United Kingdom
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10 x 10 in ($42)
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White ($80)
This icon is dedicated to the black-and-white essence of faith. A deep black square in the center of the icon visualises Kazemir Malevich’s theoretical study of the minimalist basis of reality. It acts as a framed black hole leading to a different spiritual dimension. This limited mental point is surrounded by bright multi-coloured nipples of Suprematist design that control the shape of dark matter and attract those eager to suck from a source of pure faith. The white field of the external iconic frame is covered with deep cracks, reminding about the temporality of life. The word "idiot", which is printed in the lower part of the icon in the Old Slavonic language, is associated with the main character of the Dostoevsky novel and symbolises the divine simplicity of perception of the given. COMMENT: The black color of the Suprematic square evokes figurative-positive emotions and associates with the noble color of monasticism, which is named as a “church within a church.” Black monastic robes express the triumph of ultimate humiliation and dying on the way to light and glory, following the example of Christ. The blackness will be finally transformed into a white and golden radiance of an apocalyptic future era. NOTE: Black colour symbolises the elite of human society. Clothes and cars of presidents and high-ranking officials are painted only with this particular pigment.
Print:Giclee on Fine Art Paper
Size:10 W x 10 H x 0.1 D in
Size with Frame:15.25 W x 15.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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United Kingdom
Born in the USSR. Studied in Russia and UK. Live and work in London. I create icons, but my forms of iconography are unlike any other. My icons are contemporary cultural hybrids; unusual, unnerving, stark and controversial. “Oleg's highly attractive ‘symbolic sculptures’ may not seem innocuous, but they are beguiling – and contain a myriad of tensions. He has transformed the art of icon making – the all-powerful nature of a created symbol – and tried to liberate the icons which pervade society, from their conventional roles. His art joins precise sacred paintings with interactive electronics, such as microchips, mobile phones, radios and plastic toys – juxtaposing religious iconography with modern consumerism. But the creating this symbiosis between the imagery of modern world and the religious myths, Oleg has created a new commentary on popular culture. His icons represent the changing times of our society, peoples attitudes, politics, and as he says “the unification of two polar things: old magic and new technologies.” The art which Oleg produces has the unique ability of provoking the mind and the heart, which makes it doubly combustible. What’s interesting is how our environment has become so pervaded with icons, so saturated with symbols which aren’t just revered, but also derided, spoofed, and mixed, that people seem to have become immune to any mixing that takes place, and can be comfortably indifferent to the amalgamation of sacred symbols.” Brandon Hooper Oleg Ikona has exhibited widely in Europe and America, bailed as a witty inventor, cosmopolitan and poetic; yet in Russia be encounters widespread State and Church criticism for the anti-religious morality of his work. At 2004 after religious attacks on his art he left Russia for UK as refugee. His studio with art works in St. Petersburg burned down a month after he escaped. No one found guilty.
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