Love is dangerous to his 56

Alek Petuk. Red period. Manifesto.

In the end, everything in this world - a question of interpretation, and quasi-scientific description of a seance as surely as anyone else. And then, any enlightened spirit will agree that it does not exist.
Victor Pelevin
All my conscious history of man exists on this planet through an inner struggle with the system. It is known that in the absence of any fundamental system in which one can rely on the other, humanity can survive for exactly 3 days. According to the theory of Vadim Zeland civilization (perhaps only its next turn) precedes the occurrence of structural units of human society, not vice versa - at first there is civilization, followed by its metaphysical products: micro-and makromatritsy that, at first glance, it seems more logical. In practice, this is as follows: at one point, ape-like tribe of people in the absence of an external enemy (as well as internal liberastiya at that time had not yet invented, or deep-forgotten) starts for an unknown reason to build a fence to separate themselves from the outside world and there like a fairy tale on the horizon appears a potential enemy, and the following happens by itself, because you want to tank - operation farm, supermarket, hypermarket, megamarket, gigamarket, cinema and more preferably straight smooth roads, as in America. It is the appearance of a person's life that the fence and begins an epic struggle with the Donkey Beaver, but that's no problem in childhood, both protagonists were engaged in one section of SAMBO, so after years finally win one and could not.
Works of the Red period is an absolute product of this struggle. Each of the paintings, in addition to the visual, conceptual component is a piece that does not remove the key issues, but rather adds them, fill the existential cart to the top of the human mind, in some cases with gorochki. This technique allows the viewer to enter into a dialogue with the author, which is required for the simple reason that in addition to the permanent cultural and postkulturnogo discourse within the human society for a long time nothing happens. In other words, the pictures presented in a series of red period, there is a unique gear, the kind that once again make the individual, not lost his own identity through magazines Maxim and Cosmopolitan, to step out of the metaphysical, nothing in the post-industrial nowhere.
In the series presented on canvases made of (usually 50x70 cm) with oil paint and the hands of the author in the style of post-industrial neo-expressionism (or post neo-expressionism).