Vitaly Pushnitsky, working across a range of different media, is engaging in a wider range of plasticity in his work from year to year. With equal success he works with painting and sculpture, print and paper, creatingspatial objects and photographs and closely examining the possibilities of shaping forms.

The exhibition “Point of View. Moons "is a continuation of the artist’s research into the circular shape. Vitaly Pushnitsky again works in a tondo format: all the pictures are made on a round canvas or carry the image of the circle, which always travels from series to series, from work to work. The tondo form does not impose on the viewer’s perception, has no contextual restrictions and acts as a unifying principle in the presented works - a kind of return to simple forms. From Pushnitsky’s point of view theidea of a contemplative perception of the world is the most natural and effective for the artist’s position in relation to what is happening – ideas that are too rational are not suitable for artistic practice.

Vitaly Pushnitsky, artist: "Contemporary art has become a narrow professional field, for which one must be equipped not only with a specialist inventory of explanations, articles, training, context, but also a kind of instructor – the artist himself or a competent curator describing what the viewer sees. However, paintings and drawings, visually the least traumatic genres for the viewer, are an attempt to return the person to the contemplation of what is happening."

The works presented in the project "Point of View. Moons", clearly show how the artist continues to reflect on the structures, circuits, and thethree-dimensional and two-dimensional qualities of the surface. Pushnitsky does not hide the technology of his thoughts, reflections copyright kitchen - rosettes, cut open canvases. By notching the surface of the canvas the artist reflects on the structure of the painting and goes beyond it, turning it into a visual object, emphasizing its materiality in space. Such an approach is in line with Pushnitsky’s methodologies, which entail a mix of different techniques.

Sergei Popov, Art Historian, Curator and Founder of the gallery pop/off/art: "It's not just the deconstruction, the destruction of the canvas in the conventional sense. This is when we remember the statements of Eric Bulatov and the relationship between the surface of the picture space, the constructed situation when making the cut on the surface one negates the picture inside the canvas, inside its structure, thereby unexpectedly strengthening it. Making destructive action in relation to the picture surface the artist further claims it and materializes it in space."

The set as before is deliberately limited. In his monochromic ruins pieces artist creates symbolic space that reflects the subjective experience of time. Architecture without human presence, destroyed statues, piles of debris, pieces that seem to be on the other side of impermeable glass. Vitaly Pushnitsky refers to those artists who work masterfully with the emptiness that cannot be seen from the outside, but you can only experience being inside this flow, suspended timeless hovering in the air. Like any artist he is interested in the mysteries of the universe, the cosmogony of the world: the moon rises over Pushnitsky’s objectivity, tinting the dusty terrain with its dim light.