Venus' Telephone", left part of the triptych "Salvador Dali

On May 23, 2025, I completed work on the painting "Venus Telephone", the process of creating the work lasted three years (2022-2025). The painting is the final part of a large-scale triptych dedicated to the great Spanish artist Salvador Dali. The cycle, which I gave the name "Salvador Dali", was started by me in 2019. It includes: the central part of the triptych - "Dalis Throne. Portrait of Salvador Dali", the right part - "Dalis Violin" and the left - "Venus Telephone". Thus, the entire process of creating the trilogy lasted six years. Work on each canvas was preceded by a detailed pencil sketch. The plot and compositional ideas were carefully selected and processed by me. Any detail in each of the paintings is not accidental. If the idea for the first painting, "Dalis Throne" (the central part of the triptych), was born relatively quickly, then the search for subjects for the two side parts took quite a long time - from 2020 to 2022.

Salvador Dali has been and remains one of my favorite artists since my childhood. He has originality, boldness in the embodiment of ideas, diversity, experiments, discoveries and, of course, the great mastery of the Renaissance. The goal in creating a cycle dedicated to Salvador Dali was to display the world of the Spanish surrealist artist through the prism of my style - ornamentalism. Integrating surrealism and ornamentalism in painting was a very interesting and fruitful experiment for me. In addition to Salvador Dali, my sources of inspiration in the triptych were the works of the early Netherlandish innovative artists of the Northern Renaissance - Jan van Eyck and Hubert van Eyck. Also - an Italian artist: draftsman, painter, mosaicist of the quattrocento (early Italian Renaissance) of the Florentine school, one of the inventors of direct linear perspective - Paolo Uccello. Another inspiration was and remains the Italian painter-experimenter of the Renaissance era - Giuseppe Arcimboldo. I am impressed by the skill of these authors, innovation (for their time) and integrity despite all the multi-detailedness of their works.

In the triptych I tried to depict the world of fantasy and dreams of Salvador Dali. The works contain surrealist symbols. For example, in the central part - "Dalis Throne. Portrait of Salvador Dali" I depicted "soft watches" that serve as support for the main characters back, large ostrich eggs became armrests. Drawers are pulled out of Salvador Dalis body, which are also often found in the plots of his works. In the pictorial canvas of the canvas, I also introduced one of the images that is not in Dalis work, this is a steam locomotive. In the right part of the triptych called "Dalis Violin" I depicted a character who is both a violin and a living being, endowed with anthropomorphic features. In this picture, I also used one of the objects that was never present in Dalis work. In any case, knowing his many works, I have never met an iron in them. It was his image that I introduced into the plot of the painting "Dalis Violin". An anthropomorphic violin, endowed with a human hand and head, irons out wrinkles on the surface of the earth.

In the plot of the painting "Venus Telephone" I depicted the goddess of love, she stands on a kind of pedestal in the form of a pearl and a sea shell. The image of Venus is woven from the smallest patterns, this authors technique has become one of my most recognizable creative methods - all three canvases are united by an abundance of patterns and ornaments, painted by hand with the finest brush with oil paint. Ornamental structures are distributed over all surfaces of the three plots of the works, they seem to be layered, projected onto objects, obeying all the laws of realistic painting. The shape of the patterns is varied - from snowflakes, which over the thirty years of my invention of ornamentalism, have already become my "calling card" - to small plant patterns. In the painting "Venus Telephone" the ornamentation is the most saturated (dense) of these three works - the number of patterns in the plot reaches eighty thousand. In this canvas, as in the two previous ones, I introduced an object that Salvador Dali never depicted in his works, but in my opinion, it is very surrealistic and worthy of attention, it is a sewing machine. The second (after Venus) character is an elephant, it is also a telephone, since a telephone receiver is mounted on its shoulders on levers-horns. The sewing machine with a handle, in shape a little resembles an elephant with a trunk, which is directed in the same movement as the handle of the machine. A certain repetition of the image, mirroring, arises, this is one of the basic laws of ornamentation, here it worked at the level of objects and a living being. In the sky, at first glance, we see a young Moon - a waxing moon, but at the same time it is Venus, only this time it is a planet. Not intentionally, but arbitrarily, a certain semantic echo was born (more than once encountered in my paintings), it also relates to the law of pattern formation. Here it is in the form of the image of the goddess of love Venus and her planetary namesake.

In the triptych "Salvador Dali" I tried to follow the canons of the masters of the "old school" of the Renaissance. At the same time, I sought to create a fresh and original cycle of surrealist images of the world of Salvador Dali with the addition of those objects that were not in his work. My task was also to show through me the style of ornamentalism developed by me, the variety of methods of its embodiment from the largest forms, such as tetrahedral, hexagonal and octagonal snowflakes, to the smallest patterns painted with the finest brush. Through this triptych, I tried to convey the spirit of freedom and creative courage in the visual arts.

In 2026, it will be thirty years since I created and began to develop a new style in art, which I gave the name - ornamentalism. During this time, I painted about five hundred paintings in this style and more than a thousand graphic works. I have held many conceptual collective exhibitions dedicated to ornamentalism, including all-Russian, international and foreign ones. Now this trend in art already has thousands of followers around the world. This triptych was a symbolic artistic stage, marking the anniversary date of the emergence of ornamental reality - the vision and perception of the world through the vibrations of the patterns of the universe. And the image of Salvador Dali in it is a symbol of creative freedom and originality of the embodiment of artistic images. Dali in his diaries predicted the birth of a new style in art, he said: "I see how the new style reveals its beautiful acanthus leaf, it has new life and commitment to the traditions and school of the masters of the Renaissance.