РУССКАЯ ВЕРСИЯ ENGLISH VERSION
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РУССКАЯ ВЕРСИЯ ENGLISH VERSION
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VASSILY KOSTUCHENKO Was born on 25 February 1953 in the village of Vassilievka, Gomel Region. In 1974, V. Kostiuchenko graduated from the Vitebsk Teacher Training Institute, Faculty of Arts and Graphics. He is a painter and a member of the Belarusian Union of Artists.V. Kostiuchenko's pictures are kept in the Belarusian Museum of Fine Arts, in the funds of the Belarusian Union of Artists, in the Museum of Modern Arts (Minsk), in the Picture Gallery of Vologda, in the Mogilev Regional Museum of Fine Arts and in the private collections of Russia, Germany, Sweden, Italy, Poland, France.
Vassily Kostiuchenko is one of those Belarusian artists who managed to escape from the influence of the pseudoacademic tradition. His pictures do contain figures of expression, though with Kostiuchenko they are of a different nature. In his pictures they become part of the composition, an inalienable artistic component. The idea of filling the canvases with big local colour spots may evoke certain associations with Fauvist painting, yet, I presume, the motivation here is different. On the one hand, the artist borrows certain European experience, and on the other, he makes use of the potentials that are never provided by the academic painting experience. In his pictures, a painter's drive for expressiveness is often held back by the use of a dominating local colour (usually it's red) which can vary in hues infinitely, being smoothly "transferred" from one canvas to another. The expantion of the red colour is a peculiar characteristic of many of Kostiuchenko's works making the viewer perceive them as a series in which the painter narrates the "story in the red colour" of varying tones. One critic once said: "Confusion os the strong point of a Slav painter..." Confusion, absence of rational assurance and the desire to cognize the surrounding world emotionally are the characteristic features of Vassily Kostiuchenko's works. He favours incompleteness of expression. And once the artist escapes from the "rationale" of the canvas, he tends to place big, colourful spots on it. Then the subject line becomes virtually invisible and a kind of diffusion takes place, with Her Majesty the Art being fully involved.
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