Home

In-Gate Gallery is pleased to present Age of Wisdom, a solo exhibition by Vladimir Semenskiy ( b.1968 in Imantau, Kazakhstan), on view from 18 February until 8 April, 2023. 

For his first exhibition with the gallery the artist has created an installation which refer to one of Vladimir Semenskiy’s favorite themes – human’s nature as a kaleidoscope of feelings, emotions and states, human’s life as a time flow, the sequence of brief moments witch never repeat. The exposition includes paintings with oil on canvas and a collection of sketches.

Artistic creation is an exciting game for Vladimir Semenskiy, his way to express admiration for life and to invite the viewer to share the beauty and the poetry of everyday moments imprinted in his artworks.
Coulors and shapes, which exist in the permanent movement and development, a game of brush traces, strokes, and spots, filed up with the smile of the artist and the sense of excitement for the simple events of life.

Vladimir Semenskiy’s painting balances on the edge of a large-format sketch and expressive painting, his images have a recognizable form, but at the same time are filled with movement, vital and mobile color matter.

Images arise and exist on the verge of figurative and abstract, at the dot of conversion vibrations and impulse of energy into the material and visible form.

Semenskiy's paintings are always based on personal unobjectivized links and codes of the artist. It’s a classical material for a plastic composition at times looking more like dancing than drawing. Painting by Semenskiy is an action that boils down to establishing a brief and direct link with reality. The substance of that link is the meaning of his artworks.

“Somewhere deep in my mind I keep impressions from light, body language, movements. And to show this brightly I need to step away from the nature. Nature is an impulse, motivation, but an image appears in another dimension – at the level of consciousness”, the artist says.

Semenskiy makes the direction and duration of inner bodily movements visible, the movements of bodies that make up space, which he explores and in doing so, discovers the need to work with the language of painting. Shapes are filled not with a ready-made text, but with the material of which the text is assembled, the language per se and the raw matter of art. A human appears in that language, in painting, not as an abstraction or generalization, but as an instant of the unpredictable and disorderly chaos of manifestation, of something indistinct, that forms part of individual personal experience, of what we call humanness.