All is Well
The planes of color seem to be simultaneously dissolving away from and hurtling toward the viewer. Which experience to embrace or reject is left in the hands of the viewer.
Installation View of No Vermeer and All Is Well 8 at Cirrus Gallery, 2004-2005
acrylic, oil, canvas,
In All is Well, Dimitri Kozyrev continues his examination of landscape on the move, but this time from a dizzying aerial perspective. At first, these canvases seem to depict the overlapping, fractured properties and fields viewed from an airplane window. After a moment’s attention, however, viewers may question this benign interpretation, noticing that horizon lines twist implausibly and may appear quixotically both in front of and behind the landscape. The planes of color seem to be simultaneously dissolving away from and hurtling toward the viewer. Which experience to embrace or reject is left in the hands of the viewer, and the choice the viewer makes determines whether the emotional experience is unsettling or exhilarating.
Several of these complex geometric canvases are paired in diptychs with serene but empty realistic scenes: a gallery, a domestic interior, an abandoned military fortification. This juxtaposition of explosive change and confined restraint make similar demands on the observer. Will you engage? Will you enter or pull away? And when you do, will you embrace the ambiguity or embrace the anxiety?