The New World Picture

The creative world of Oleg Vysotski is chamber and lyrical but it is not reserved and impenetrable. His works are full of air, light, low sounding, like solo on the flute music, refiend poetics. There qualities are able to evoke similar emotional coexperience. Plastic by form motifs and ideas of Oleg Vysotski poetic world are recognized and not. In the works of the artist the elements of the artistic language are organically interweaved and merged, superimprosed on each other, being displaced, semiobliterated, they are translucent like signs in the ancient letters. Unintentionally we remember king`s Lear words, "In order to see the course of events in the world one needs no eyes, look by ears" On the lyrical world of O.Vysotski delicate, musical-poetic images contain the clot of intellectual energy, plastic ideas. They spring up like the flow of free and tense improvisations. The subject of this attention is the eternal Universe rather than a visible and recognized world. The play of this sibconsciousness is somplicated but in no way aggressive. On the contrary, the gualities inhering in it are delicacy, fragility and estrangement, almost childish purity of perception. The main objects of his creativity are not "the subjects and not splinters and fragments of the materialazed language", but reserved connections, "force tensions", the energy of information flows, appearing between them. The creative maxim of O.Vysotski, thereby, is turned into the depths of the soul and spirit, he recreates and simultaneosly quotes poetic mythology of his own emotional movements and states, hence, it follows the principle of "comleteness" - handiwork incarnation of sense, feeling, spiritual enlightments in proportionality,accord, configuration of colour, light, rhythmical structures and harmoniosly built and regulated form. Expressiveness, expression, the energy of "field" tensions in this compositions, perform splashing out, interweaving, superimposing, sometimes dominating rhythmical designs-structures of the lighy-colour, texture, lines. The play of colour spots, curled, spiral-shaped forms, spherical capacities, satiated with light, reflects the lyric of the soul and relaxedness, free flight of thought in the compositional space, oriented on the surface. The contrast, mutual supplementation of colour connections, their rare light-bearning, impart the charm of inspired harmony to the impeovistaional flow. Skilfully, with worthy professinalism, the artist mixes water-coclour, oil or tempera, lacquer, relief paste, different bases, moreover, he uses aerograph, reaching interesting individual artistic effects. It is noteworthy, that the light-bearning of this compositions is subordinated to peculiar logic - the light creates the surface rather than the colour and the line. Lights effects impart vitality "and trustworthiness to cosmic self-engendering forms". The forms create the impressions of simultaneosly growing, real and escaping. The flows of the light, moving in the same moment in different directions, unite neighbouring and distant, that is of this place and that is beyound the limit, in tense unity of harmony almost of cosmic sounding. The art of Oleg Vysitski is a stranger to the idea of chaos and disintegration. It seems that the series of works with motifs "the Shores" and "the Seas" (the names are conventional), were created by the artist exactly in such an image-bearning and language key. The compositions with the balls as self-rolling and self-engenering cosmic bodies, represents a special line in the creativeness of the artist. They give rise to associations with light-bearning, alive, full of energy worlds among the other worlds of the endless Universe. The series of 5 works "Metamorphosis" ans 2 big monumental pictures, written by tempera on the canvas, completes this line. It is not coincidence, that one of them decorates the concert hall of Sillamae`s music school and the second one decorates the music hall of the kindergarden. Harmonious constituent rats of the light-colour and linearn rythm in them were put to lucidity and simplicity of the mathematical formula.
Olga Kaljundi. Art critic.
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