We invite you to the Central Exhibition Hall of Perm 27.02.2015 at the exhibition of Peter Frolova and Natalia Tour "Sackvoyage".
For visitors the exhibition will be open from 27.02.2015 – 25.03.2015.
Peter Frolov was born in 1974 in Leningrad. Since five years he attended art school at the Hermitage. He studied at the Lyceum at the Academy of Fine Arts. Peter studied book graphics and illustration in the Mukhina Academy, as well as the basics of stage decorations at the Theatre Institute. Two years he lived in Paris, then three years in the United States. Since 1997 lives and regularly exhibited in France (Paris, Strasbourg, Cote d'Azur). Since 2007 begins exhibition activity in Moscow and St. Petersburg. Member of numerous Russian and international exhibitions, his works are in private collections in many countries. Member of the Union of Artists of Russia.
Natalia Tour graduated from art school of V. Serov in St. – Petersburg, and then graduated from St. – Petersburg Academy of Arts, class of painting. Since 1999 Natalia Tour takes part in many international exhibitions. Her works are in private collections in Russia, France, Britain, Holland and the USA. Member of the Union of Artists of Russia.
Works of Peter Frolov – a kind of New Year's show from company of cheerful actors who are already a little tipsy. Bustle and laughter could be heard already through the door, then bursting call, you open and tree falls on you with all its balls, lights, garlands, stars and gold thread.
World of Frolov is completely different, as individually experience, impression. This world is funny, game. It is at once masquerade, fair, farce, carnival and mystery – buff. This is salute of caramel, cake of butterflies, boots – runners, Niagara of toys, wedding of anemones, carousel – Zodiac, "aeroplane" with bells, corals of lilac, splashes in a kaleidoscope, hot air balloon – slapstick. Only in the game can be organically combine incompatible, therefore Frolov – is magician – alchemist in a swing that twists "the sun".
Artistic horizons of Peter Frolov get out beyond the horizon, like champagne from the bottle. All game, which has been created in art, anyway overdubbed by this maestro, whose orchestra, plays carcasses. A fly say, Alphonse? Through the Looking Glass, you say? Is not visible whirlwind of scarlet women? Or nosed shadows of Shemyakinsky dolls? In this charade all is mixed.
It remains bewilderment: Is this world with such a variety of phenomena and readings internally so organic? Yes it is. Thus organic is pile of variety of gifts in a bag of Santa Claus.
Semantics is the main secret of the work of Peter Frolov, forcing meticulously consider all the tumult of each picture. Chaotic character, randomness, spontaneity of images – are just imaginary, but their principle are not universal but individual, authors, but the semantic field is general, and in general everything is clear.
Sometimes Peter Frolov defines a specific theme for the feast of associations: winter in Alsace, canals of Holland, Trans-Siberian Railway, Innsbruck. Sometimes the theme is obscure – "go there, do not know where, bring it, do not know what": hat-flower bed, trifles, revived sledge, and gramophone. Hats and flights – like the starting points of stories of Peter Frolov: looking what hat looking where flew … … And the states-all – game, passion, celebration.
The main focus of Frolov – turn the game into a spectacle shoot by spectator in this spectacle from a cannon, as Munchausen in the moon. The audience will rush to major, baroque ether of metonymies and tropes, luxury comparisons and witty epithets transformed into images, busiest and linked by Frolov – this choreographer of painting – in the cause – effect relationship of round dances.
Strict and sulky Russian art knows different realisms. It knows picky, critical realism, checked all for seriousness, for compliance with the world truth. It knows socialist realism – textured and essentially utopian narrative of "life in its revolutionary development." It knows also many others formats of truthfulness: speculative academism, ceremonial style, or even mocking social – art. And Natalia Tour came up with festive realism. Like Pinocchio, it is "created for others to enjoy."
Russian realistic painting supposed to have a literary back – ground, and pictures of Natalia Tour are inscribed in bright textual tradition. Here are timidity of Turgenev, romanticism of Green, exotic of Gumilev, blossoming sensuality of Bunin, ghostly, disappearing nobility of the Silver Age. And more – that's a miracle! – A lot of Leo Tolstoy, or rather, his young and boisterous Natasha, a girl who is "life itself." Natalia Tour speaks of Natasha Rostova by sense of the original natural happiness of being, girlish enthusiasm – as at Natasha before the first ball when everything seemed to her delightful, and all the people – loving each other and beautiful; she herself was not able to discern in the mirror in the fabulous crowd of handsome and beautiful women. "Natasha was so happy as never before in her life. She was at the highest level of happiness when a person is quite good and kind and does not believe in the possibility of evil, misery and grief. "
At retelling stories of paintings seems that Natalia Tour prefers genre paintings – scenes from everyday life. But the concentration of poetry displays the artist beyond the ordinary. In the paintings of Natalia Tour is difficult to define an era, there is no need of binding to the calendar, because, of course, the definition of "genre" – is not for these works. Natalia Tour has some synthesis of artistic genres. Unconditional portrait images. Specific of situations: children from the street look in a window of farmhouse, tits arrived at feeding trough, and a woman brings flowers in large pots on a sunny patio. Recognizable landscape: the middle band, the Crimea, Italy, Cuba. Finally, the still life.
Oh, how in a female way, domestically and frugally Natalia Tour pulls into the slot any different stuff and fancy trash: crumpled copper samovars, porcelain tea ware, ceramic pots with broken beaters, tuesa and baskets, bottles and decanters, colourful quilts , straw hats, lamps. And also the artist loves fruits of the earth, flowers and trees, and around are all living creatures: dogs are revolving , cats are scratching by paw behind the ear, rabbits are jumping, hens are sleeping on a perch , tits and bullfinches are fighting on the dinner table, trailing tailings, pheasant are walking, parrot sit in a cage, under the lamp butterflies are flitting. However, not less of clobber, flora and fauna, active Natalia Tour enjoys textures: a variety of tissues, dry boards, smooth glass, gloss of metal, softness of girlish faces.
Sometimes admiration of materiality and texture of the world leads painting to self-contained decorativeness, to the "World of Art" graphic quality, as in the series "Seasons": this is because the ideal for Natalia is above reality. It descends to the ground, giving happiness, as a pagan god of fertility and abundance.
On the paintings of Natalia Tour life is quite different: here is kind, affectionate, gentle and cute female world of trouble with the housework and take care of different goofy living creatures; here are endless crop of yields, tables and cooking for the holidays. To live that way – mentally and humanly. To write that way – is very simple. But this is only seems. In fact, write like this – is incredibly difficult, because that is incredibly difficult to live so that life was like a holiday.
