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— “None of My Business”.
Roman Minin (mininstreet.blogspot.com), Kharkov (Ukraine), August 2011.

About the author.

Born in Donets Basin in a miner family muralist Roman Minin represents a reverse communication between the world of academic tradition and modern street art. Having graduated from The Kharkov State Academy of Arts (better known as “KhudProm”)Chair of Monumental Decorative Painting and inspired by the early Byzantinesque visual esthetics he started experimenting with fine arts with emphasis on muralism.

The artist turned to street art as a result of present time total crisis disappointment considering inwardness, universal commerciality and overwhelming egocentrism. Without any support for his ideas in academic environment and actual art market system the author turns to a basically neutral and only possible for an independent artist environment which is free from personal tastes, limits and canons — city streets, influenced by underground culture.

Minin’s art can hardly be expressed by a precise definition. Perhaps it can be characterized as “Art Fusion”, “Art Clash”, “Eclectic Muralism” and a lot of other epithets designating a style mix — the author constantly experiments with the visual esthetics of his works at the boundaries of various genres, techniques and styles. He considers himself as muralist and his art as anti-imitative “poetry in images”, central subject of which is mining and mystification of miners’ life. Good example of it is the “Miners’ Folklore” — his main and the biggest works series consisting of about 70 pictures. So much attention to the mining is specified by his background factor — Roman was born and brought up in a miners’ family which couldn’t but affect his art. Moreover the reflection of mining phenomenon, antheming of its everyday practices gradually transformed into sacralization and seeking for the innermost.

This way the image of home-distilled vodka in one of his works being drunk by the miners symbolizes the unachievable saint grail which reflects the problems of future and present. As a visual code of expression of his metaphorical poetics the author applies elements of national traditional decorative art, its language and plastics referring to the archaistic layers of genetic memory which helps to conduct a plain and comprehensible discourse about all unstated and obscure.

Having achieved a rich experience of working in various artistic techniques Roman applies it widely in his pieces without getting stuck on something specific. The technique, style, form and color of his works vary depending on ideas, subjects and environment. The author doesn’t seek to appreciation of artistic communities, awareness and creation of personal unique style. In author’s opinion the main value of his works is neither a recognizable style, nor a signature, nor a hot subject of current interest, but in timeless values, ideas, inner harmony of their content, style, composition, form, color and technique.

The author binds the very concept of art with religion and mystification. By his words “any work of art is a mystification itself like spell of sounds or visual images. The art possesses a slow force of nature as a plant can break through the concrete the water of art slowly but faithfully weathers the stumbling stone between the material and the spiritual gradually replacing religious feelings”.

Approving the idea of guerilla art (graffiti, street-art, bombing) the author never aimed at reproduction of its traditional techniques (aerosol) and practices (tagging, writing, train-writing, stencil-art etc.) and preferred calm and unimpassioned painting to the bombing adrenalin.
The first street works were made with usual industrial enamel. Attracted by the idea of opposition to “official style” by creation of free and independent art he found a dignified environment for “playful” and “humorous” art, the concept of which he promoted: “The best art is made with a smile and the best spectator is a person with at least a tiny sense of humor”.

Text by Andrey Tseluiko.

About the work.

Unsteadiness of urban environment permanently makes street artists face a lot of unexpected circumstances. Some of them are useful and significantly ease the creation process (for example, scaffolding installed by the object; a bucket of fa?ade paint left nearby; a ladder etc.), other, on the contrary, complicate the process turning into an absolute obstacle on the way to accomplishment of a creative idea (garages and vehicles standing by the object, electric wires, streetlights, conditioners etc.).

Participating in state and commercial art-projects the artist usually hopes for outspokenness and understanding of their organizers being totally sure about the fulfillment of the technical raider and solving of any possible problems. But even within official institutions above mentioned problems are actual and often stay unsolved due to negligence of organizing approach. This way the participant of The Wall Project Roman Minin literally lost the possibility of his sketch embodiment beforehand approved and confirmed by the exhibition centre administration. Initially intending to fulfill a specific idea he had to change his concept due to technical impossibility of its realization. This was caused by the forwardness of the cars’ owners who parked their vehicles in close vicinity of the wall.

Perceiving the futility of the attempt to solve the problem with administration help and feeling feebleness against the officials the artist, following his personal principle “to play by ear” turns to the optimal practice for such a case — improvisation, publically commenting the existing situation.

Behind the improvised parking he “places” two flash-points performing a symbolical lynching the extra “smart” car owners indicating a possibility of getting a personal injury due to repetition of such actions. By the phrase “none of my business” placed in the centre of the composition the artist on one hand relieves himself of all possible blame and responsibility for unfulfilled idea. On the other hand — adds an additional connotation to the previous layer by Igor Dizebi self-critically announcing in the name of abovementioned about the failed fire extinguisher experiment caused by the absence of practice with this media.

Text by Andrey Tseluiko.