Conceptivism originated from Sergey’s fascination with vivid colors and computer generated graphics and design techniques. Natural inspiration for the creation of the style came from the works of the artists of Fauvism, who tried to capture and paint the transformations of light in paintings (most notably Matisse). Further influence materialized from Sergey’s former financial and technology education and backgrounds, which fueled the desire to create an art style that would incorporate computer digital designs techniques and features of financial modeling into the creative process. Other influences were from the work of the artists of the Russian and Italian Futurist movements that celebrated speed, technology, modern industrial progress and which conceived, among other things, the concept of “Zaum”, and argued that Art must reach outside of barriers of language. Finally, the work of American artists of Pop Art movement (most notably Roy Lichtenstein) as well as approach and ambition of Jeff Koons, influenced the meticulous approach and detailing of Conceptivism, as well as the predilection for scale and scope.
Many of the works incorporate typical setups of a financial quantitative model, with its limits and goals, paths and parameters, as well as subject representations identified, and the model is then set to run within a degree of freedom to produce visual representations. The model generates an image or components of an image through computer generated “magic”, with artist becoming the final approver of the ultimate visual form, which then can be used as a final product or as an intermediate step in creation of the final peace. Any number of model runs can be repeated until the artist is completely satisfied with the final output.
Conceptivism is distinctly different form Conceptualism. The difference can be illustrated as the difference between black and white photography and 3d artistic sculptural model that can change dynamically and that can be adjusted to the preferences of a spectator. Conceptivism only incorporates the notion of Conceptualism that an idea in itself is beautiful and can be represented in art, but then it aims to elevate the visual art aesthetics levels to a much higher degree and to engage the spectator on a much deeper level, exciting many of her senses and emotions .
But Conceptivism ambition does not stop on just visual – it aspires to create a genuine, dramatic and provocative experience for the spectator, which would take her beyond just appreciation of the visual aspect of art, but would also
a. incite passion and altruism
b. cultivate humanity,
c. provoke thinking,
d. enrich imagination,
e. motivate curiosity.
Sergey attempts to incorporate a self-synthesizing impression of Art that includes characteristics of the notion of the ‘absolute work of art” or “gesamtkunstwerk” (an English word adopted form German, and originally used by Wagner in his opera productions). The aim is to incorporate various forms of artistic expressions, drama, emotional motivations and philosophical ideas in a single art peace. The idea of gesamtkunstwerk, when applied to the execution of that concept in the modern technological and industrial state, becomes Conceptivism.
Conceptivism = idea of gesamkunstwerk + quantitative modeling and optimization + vividly colorful imagery + social relevance + random variable
The essence of Conceptivism can be usefully revealed by comparison of architectural differences between Romanesque and Gothic style of architecture.
Romanesque style of architecture is massive self-sufficient form of architecture that is usually built on solid ascending foundation capable of supporting massive large heavy blocks of stones and walls upon it, with thick walls and massive quality. Most stones forming walls, in a typical structure, are not load bearing, incapable of carrying other weight over it, not supporting the overall structure. The structures are usually massive, heavy and frightening, inspiring the feeling of simplicity and large size and scale (that is why most of the castles and defensive fortifications are built in that style). If a block of stone or a part is removed from a Romanesque style construction (think about a typical crusaiders citadels like, Krak des Chevaliers, or Kerak Castle shown in the movie Kingdon of Heaven) nothing would happen to the entire structure – it would continue to stand relaying on its thick massive walls and not fall apart. Each stone is not connected in a net of dynamic forces and thus the building can withstand removals of many parts.
Gothic style architecture is totally different. Each component of a Gothic structure (a church or a cathedral) is a dynamic energy receptacle that is built into a network of dynamically connected components that together through the forces streaming through, hold the structure together. Its distinct elements of design include pointed arches, flying buttresses, and ribbed vaults. But the most drastic distinction is that each component of a Gothic structure, each stone, is built into a dynamic supportive system that redistributes the burden and weight from the higher levels of the structure, through the system of energy and weight stabilization, created to hold the structure together. Exclusion of any of the individual components from a Gothic structure will most likely lead to a collapse of the entire structure since, because every stone has its place and purpose. Because it’s built only with load carrying and energy producing components, Gothic structures are emphasizing height and light, as if construction is flying in the air, streaming to the higher grounds. The projected sense of grace and fragility of Gothic structures is achieved, precisely because there is no excessive use of materials and components that form building are dynamically linked to transforms energy and weight.
Typical Gothic structure, like St. Peter Basilica in Manhattan on 5th avenue and 51st street, looks as if it is trying to fly up in the air, above the earth with increased sense of height and steaming fluid forms.
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