"Pakhomkin’s large paintings appeal through their exquisitely balanced compositions, strong images, and the impeccable training the artist received at the Repin Institute in St. Petersburg, Russia. There is an intriguing juxtaposition of symbolic images in the carefully structured works, which we need to "pull apart" in order to find the hidden presence behind the puzzle. The artist plays with history and our perception of it, combining into almost ritualistic tableaux the icon of Imperialism – the Faberge egg – and the icon of the Russian avant-garde and Suprematism – a Malevich painting." - "Washington Review" June/July 1996
"Pakhomkin has chosen a very Russian subject (decorated eggs) for several large paintings, but he brings them to a blunt contemporary state by the overlaying of broad bands of color, which at first seem obtrusive, yet become an integral part of this massive canvases on a more studious look."
- Lennox Campello, Fraser Gallery
"The themes explored by the artist relate to his intimate and personal world. These are objects of his surrounding, fragments of urban landscape, which are being metaphysically isolated from any habitual context, became a unitilization, a mystery and at the same time remain reality."
Matthew C. Bown, the author of “Contemporary Russian Art”, says about his paintings: “Here, human existence is called to mind in its absence, by the traces it leaves; the names on a door, a decrepit car, speak of a life both communal and mysterious, of popular aspiration and a shabbier reality”.
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