Modern people do not always have the strength to measure the authenticity of events while browsing the news feed on an electronic device. The flow of images and their structure cannot but resemble the genre of "trickery" ("tromp-l'oeil") of theatrical and decorative art of the XVI-XVII centuries, which sought to replace reality with its imitation. When this genre originated, the theme of the deceptive illusory image received its status of legitimacy. The modern world fully embodies the "trompe-l'oeil" conception - a delusive appearance, reality, or rather, something that imitates reality (the principle of mimesis). Ambiguity, obscurity, variability is characteristic of the world, which is in ongoing circulation of information. Deceit and misconception have gained a new artistic dimension. Looking around now, it's hard to understand what kind of spectacle society we live in, and what is this tedious drama of diversity all about. Man in the modern world is not the measure of all things, as it used to be.
The uniqueness of any aesthetic experience and its growing exponentially diversity is the reaction of humanity to the infinity of the world, which has been rediscovered by virtue of the latest mass media, and which sometimes pulls the ground out from under its feet. There aren't many things that can prove to us that we're still human. The very fact of referring to the category of "beauty "in the works of Oleg Matrokhin, its use, in fact, is an attempt to reconsider the few proofs of the existence of "beautiful " in its literal and figurative sense.
Oleg deliberately plays with stylization, literally introducing the works into the context and aesthetics of the XVIII th century - it is important for him to designate a historical parallel and show continuity. So, in the XVIII century, humanity first discovered the infinity of the surrounding world as at this time were invented the devices such as the telescope and microscope, and it is also scientifically confirmed that the Universe is infinite. The idea of the boundless amazes the human mind. The discovery of Pompeii and Herculaneum also became the starting point for the development of classicism. In the era of the XXI century, a person has learned new media - he is again on the threshold of the infinity of the world, the world of globalization and endless social networks.
One of the most important topics for discussion with the audience for Oleg is the thesis about how substantial it is to remain a person in this fleetingly transforming world, how important it is to preserve a human approach to reality. An appeal to the fragile and subtle theme of beauty and to such a concept as "prettiness", which now has no place in the world. Beauty is not the goal of art, but beauty as a problem, which shows us the forced drama of diversity in which we live.
Oleg Matrokhin (b.1980) - Russian artist, living and working between Ghent (BE) and Moscow (RU), graduate student of HISK (Higher Institute for Fine Arts) and graduate of Russian State Institute of Cinematography (VGIK), where he specialized in colour schemes of costume design for cinema, and Institute of Contemporary Art (ICA), Moscow, participant of 6th Moscow Biennale of Contemporary Art.
In the art Oleg Matrokhin uses textile to express illusions surrounding us in the contemporary world. Drawing parallels between delusions of baroque and rococo and deceptions of informational flows in contemporary society of spectacle, he creates visually captivating art, multi-layered in references and literary – with stripes and ribbons of fabrics.