Location: Oslo (Norway)
Ivan Galuzin’s artistic practice takes shape through media such as painting. Sculpture and installation and video. Alternating between figuration and abstraction. His works generate a dialogue between Galuzin’s particular artistic interests and the history of abstract painting. He communicates his conceptual concerns through material explorations that have been reified into abstract works. His interest in the human body. Waste, decomposition and the organic process of decomposition, leitmotifs of his artistic practice. Ivan encourages the exchange of traditional oil and acrylic paint with chemicals found in the human body such as calcium, sulfur and phosphorus.
When created, Galuzin’s works resemble monochrome paintings. But the pungent smell of chemicals warns of something far more dangerous. The canvases are coated with a coat of industrial two-component paint that creates plastic-like, monochrome surfaces in pink, yellow and black. The intense stench of chemicals in two-component paint triggers strong somatic reactions. Thus, a feeling of decomposition which manifests itself on the surface of the paintings. The canvases are slowly but surely fracturing. Then, they begin to flake off like dead skin, like a pictorial equivalent, to the inevitable rotting of the body.
The works can be read in the context of the history of monochrome painting, which includes works that Russian supremacist Aleksander Rodchenko made in 1921. After making these works, Rodchenko said that “it is all over.” One consequence of the monochrome was to proclaim that painting had come to an end or telos. As a commentator on the countless proclamations of the death of painting. Galuzin’s deteriorated and rotting works appear to be a pictorial state of limbo. Like an ambiguous warning of total collapse or resurrection.