Marina Azizyan Biography

Marina let me call her so by the duration of dating - from the real ones. Marina Azizyan in her workshop. The photo of M. Dmitrevskaya its existence in art has never been very noticeable. And where could she be noticed? In the theater? She seemed to the theater intended by the very nature of talent, and the long -standing choice of the production faculty was not accidental.

In everything that she does, some theatricality is found - in the best sense, without theater. It is theatrical with the syntheticism of her artistic thinking, which is not limited to a pure image, but seeks to draw into the work everything visible to the eye - both decorative elements, and iconic, up to the font. She is theatrical with entertainment - the need not only to realize her internal motives, but also to be seen, perceived, understood.

It is theatrical by a kind of articulation of her work, the quietest of which is perceived from afar, like the “whisper” of the actor, coming to the gallery. For the theater, she has everything - and not potency, but the very reality of brilliant decisions. However, it was in the theater that she - may she say goodbye to me - still did not express herself as fully as she should.

She did not do much in the theater. Some works, including very outstanding ones, were simply not carried out, and carried out so sparse in time that they form a dotted line, but not a line, and the concept of “Marina Azizyan Theater”, alas, begins to appear in its outlines. Who is to blame? The directors who looked at her? She herself, who behaved somehow “wrong”?

Do not understand, and no longer important. In the cinema, she, perhaps, managed to prove herself much more fully. Many sketches, once seen, were remembered forever - and not only those spectacular to different fairy tales, such as “Blue Bird” or “Tsarevich of the Pier,”, but to “A Monolog” or, say, “Cross”: I can hardly recall that there was such a film, and sketches are still before my eyes.

But the cinema is self -loving and ungrateful, it takes the whole artist, not giving almost anything in return. It is inclined to assume that work in the cinema was generally a compromise for her - a worthy, but not caused by an irresistible creative need. There was little left to work easel, ordinary outlet for the “employee” of the artist, and it is still surprising that it was still.

But the executable was rarely shown, episodically. Over the years, she, in essence, was inquired: what she did did not fully coincide with the sensation of the true scale of her capabilities, which did not leave everyone who knew and appreciated her. And they knew and appreciated it mainly in a narrow circle of brothers in the workshop of “theater and cinema artists”.

She discovered this scale by showing the exhibition “Sewing Marina Azizyan” in the year. The exhibition became that it was previously customary to call a “event” a concept, the meaning of which is now almost lost. She finally found what she expressed herself strongly, full and completely individually, turned out to be what she was already in fact - a great artist, one of the best masters of our city.

The exhibition put everything in its place, outlined the circle of her interests and helped to understand the not quite ordinary nature of her talent. It is like a magnet not to be drawn to what it is customary to respectfully classify the “high” arts, but to some marginal forms of artistic work-semi-applied, semi-dedicated, semi-reproachful. Yes, and the field of the theater artist, who had once lost her, whether it has long ceased to be nothing more than worthy of respect by craft?

As art to him from the strength of the eyelids. Not to mention the fact that we will be frank the theatrical sketch is only desirable, but it is not at all necessary to possess any of our own artistic qualities. It is drawn to expand the field of its interests at the expense of these mezema classes. Even having finally parted with the cinema, - we can say, having gained freedom, she did not rush to write a picture after the picture.

She took up the "sewing". I started the famous Christmas exhibitions, where it was everything and was included in everything, like it, for which she was designed, for which she designed dolls and decorations, and directed, and even painted the Set, where there were performances. She took up a kind of book graphics, designing two poems by Joseph Brodsky “Fly” and “Butterfly”.

In the same “sewing” technique, she made a series based on the “fantastic dictionary” Tonino Guerra ... I think that I have not listed far from everything. It may seem strange. To look on the one hand is some kind of cute pampering, needlework, filling out the formed leisure. To look with the other is a slightly irresponsible invasion of completely unfamiliar classes with their burdensome, sometimes tough laws and technical subtleties.

But she succeeds. Now she finally acts not as a specialist in some kind of artistic business, but as just an artist in a pure form who expresses himself in everything that he will not touch.What is the end of the artist who did not study the book schedule, especially as specific as the font, did not design a single book that did not illustrate the line of text? He can do something interesting, outstanding, but not related to the art of the book.

Marina exhibits sheets, impeccable in composition, and in schedule, and even in a completely distinctive font that rewritten the text that can satisfy the most strict expert is she accidentally interested in the font and understanding of his nature, she found in “sewing”? Of course, this is a great talent and professionalism. Talent gives it an abundance of large and small artistic ideas, and professionalism - the ability to carry out them, and without concessions or with minimal concessions, the circumstances, to which we are all so much to refer.

Marina’s talent was not yet questioned by none of those who are inclined to perceive her work with coolness: he is too obvious and too recognizable. She is inherent in a rare sensation, perhaps the experience of the material and not only the so -called “artistic” - the decorative and expressive capabilities hidden in it and, accordingly, the instinctive ability to use it in the right place, in the right quality and in the right measure.

From nothing, from the last hure, she knows how to create something amazing: to fly out a luxurious “candlestick” from a hastily crumpled piece of foil or plant a piano with butterflies carved from book pages and attached to flexible delays - these are only two tiny artistic discoveries from, I think, hundreds of similar ones. She is inherent in a rare sense of color and peculiar power over it.

She is able to harmoniously connect any tones, even those that seem obviously unconnected. Do not forget the gamuts of tones created by her, most often condensed to the mystery, spicy, endowed with a special glow, related real glow of color at dusk. Its flavor is always executed and at the same time deprived of any, even the most refined, weakness - it is the fullness of the manifestation of vitality.

Its professionalism, I think, is not only learned in study and developed in practice, but also natural, which is as rare as a naturally set voice in the singer. This professionalism is high, based not so much on owning the rules and grasps of a particular lesson, but on the understanding and loving the laws of form formation common to the whole “art”. He allows her to enter any, even the most unusual thing - to act confidently and achieve serious results in it.

Still, both talent and professionalism would not have been enough for what Marina reaches, and above all in his “sewing”. Something more was necessary: ​​an understanding of the essence and purpose of art, as well as its place in it. In fact, the existence of the general laws of form formation was once discovered by the avant-garde, which allowed their followers to expand the circle of art democratically and infinitely-almost to everything made by a person or even simply looking for him in the surrounding world.

But this intoxicating innovation was reduced to elementary distortion. When Marseille Duchan put his notorious “toilet”, he not so much raised it to art as art itself “omitted” can be, in the very low sense, depriving traditional goals, values, criteria and not offering new ones - equivalent. At Marina - otherwise. In its attraction to the "lower" arts, it is quite modern. But she is a traditionalist.

It would be necessary to ask her about this, but I prefer to judge by reality “I believed because I saw”, and she herself is not inclined to theorizations. Looking at her work, I continue to believe that the art is spiritually by my nature, that it is always a statement of something to someone, and not a game without rules, that beauty is its goal and means, that in art freedom is a cognized necessity.

That is why the meaning of what she managed to achieve in her “sewing” is incomparably with the usual “creative success”. In itself, “sewing” is just needlework, it can delight the eye, but nothing more. Marina returns his high content, once spiritualizing him and made art in the true sense of the word. At the same time, it does not stylize, does not imitate a collective artistic consciousness, which once moved unknown masters and craftswomen-such nobility is not according to her mind and taste.

She relies on her own individual consciousness of the contemporary artist and turns to the audience with what excites her personally. However, her work is still not ordinary easel paintings, only performed for some reason with a needle, not a brush. In them, otherwise than accepted in painting, decorativeness and meaning are balanced, this is a completely new type of creativity, which has not yet existed, but in its own way continues what happened.

Marina is a very Petersburg artist. After all, the St. Petersburg line in art is not coldness, not a form of form, not commitment to the norm, as is sometimes believed. This is a discipline, this is a clear understanding of what, why and how you are doing, it is the power of feelings and thoughts that seek and find for themselves the impeccability of expression, as if restraining themselves in order to open up to people “through the sight of the elegant”, as Pavel Fedotov, is also a very Petersburg artist.