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— "The Wall".
Make (www.pixelchannel.ru), Moscow, December 2010.

About the author.

Make (aka Anton Pol’skiy) is a Moscow artist. He has started his artistic activity in 1997 as a street artist — a member of “UMC Crew”, later "Rus Crew" — and since 2000s organized several group exhibitions in “Gallery in Solyanka”, “Vostochnaya Gallery”, “Moscow Museum of Modern Art”, “Artstrelka” and in “Central House of Artist”. He also participated in “The First Moscow Biennale of Modern Art” in 2005, in 2008 and in 2009 exposed his artworks at “ARTMOSCOW”. In 2009 he became a finalist of Kandinskiy Award as “Young Artist. Project of the Year”. At the moment he also practices graphical design.

Being not active in the city streets he constantly makes use of the experience gained during the starting period combining traditional “street” techniques and esthetics with industrial and “high art” media.

In his works the author often uses methods of reconstruction recreating various objects of urban environment with featuring signs and characteristic textures. This “simulation” often becomes a part of his works expositions creating a definite context and atmosphere for perception.

Text by Andrey Tseluiko.

About the work.

The most natural graffiti environment is urban fences and buildings facades. In addition these architectural elements are considered basic in modern regional urban planning. After the USSR collectivization period for the most of our countrymen private property cult and contrast of private and public property became commonplace. People don’t trust each other, build high fences around their “microworlds” and dachas and also place themselves into metallic capsules trying to minimize the contact with urban environment.

On “The Wall” the author recreates a conventional fragment of urban environment which could be seen if the wall wasn’t there. We got used to handling problems by understanding and solving. In this case the main problem is the wall between “Winzavod” and the street, between the people, between the artist and the audience. And if physical destruction of this wall of misunderstanding is impossible, simulation is the only way. The author creates an illusion of vacuum in his project trying to show that in fact neither the wall nor the artist, nor the problem exist — only open space without frontiers.

Text by author.