Vitali is founder of the new visual artistic style he refers to as schematism. He became inspired by the printed circuit board (PCB) and sought to promote his newly discovered aesthetic around this theme, gradually enriching it with abstractions and appropriations from nature, or different familiar styles. This method is similar to the electronic Via, which has vertical electrical connections between different layers of conductors.
As for the elements, constituting the artist’s new style and artistic practice, VitaliV, explains it in the following way: “the key element of my style is based on the motherboard of a computer: I develop a circle, a line and an angle of 45°– the three elements which make up the motherboard. I can apply this principle to textiles, ceramics and paintings. I can join the three elements in endless combinations, with the possibility to create an innumerable amount of patterns”. In other words, he moves from art as matrix to art as motherboard. Even after the fascination with the motherboard as the only source and inspiration of his art had gone, VitaliV wad still enthralled by its various technical components: circles, lines, 45° angle. To him, they represented the Ding an Sich principle. And even if their meaning was lost on the uninitiated, they could still be perceived as beautiful aesthetic objects with endless visual possibilities potential: they can inspire all kinds of forms, connections, colours and associations.
Philosophically, Vitali’s ideas resemble anti-representational approaches to the theory of meaning. His maintains the view that images are not objects or concepts, but are immanent and present without mediation. The image is art made up of forms, colours and signs. It works by not being analysed, and is essentially non-conceptual and self-sufficient. The image refers to the present, to the situation of the viewer hic et nunc, and the viewers invest their own meanings into the artwork. Here VitaliV comes close to contemporary ideas on the phenomenology of presence.
Today, we live in a rather complex age, when people are overwhelmed and over-exposed to various types of “overs”, including information overload and excess of various stimuli. Hence, our age, is yearning for simplicity and simplification. We are aching to get down to the point, remove all excessive detail, reduce the amounts of data and move over to the next goal. Or simply to switch off. One needs to get to the basics in order to survive. From this point of view, schematism is the art for this age: it leaves only the gist, the skeletal structure of the phenomenon – just exactly like we do in our everyday life.
We live surrounded by schemes: circuit, electrical, electronic etc. Schemes are abstract, pragmatic and precise. Their underlying principle is logic. Schematic drawings, and schemes or diagrams as a method of self-expression has existed for a long time. The first cave paintings can, perhaps, be easily referred to as schemes rather than drawings. Like any diagrams, they generalise and reduce. Precisely at this point, when the image is stripped of all excessive detail and presented to the viewer as a purely functional mechanism, it may also reveal its mystical potential and certain universal structural principles.
Schematism is a frame, a structure underlying any artwork. Being an independent style, schematism is the art of combining shapes, colours and signs / symbols.
Previously, this type of art was in demand but now the world is replete with symbols and signs that have turned into independent entities, like road signs or computer icons. Visual symbols have acquired a major importance and significance of their own, joining into networks and forming spatial volumes.
When compared to a painting, the scheme is devoid of the richness of colours inherent in painting, or of the airy lightness of a watercolour. On the surface of it, schematism operates a limited set of signs, formulae, lines, shapes and forms. However, this is not the case. There are no limits and restrictions to this kind of art: one should only exclude logic when operating signs and forms, or abandon formal methods while providing information. In our case, it is imperative to place aesthetics above everything.
The line, point and word should be our guiding principles, and, gradually, the painting will emerge out of their combination. A formula or a table devoid of meaning, takes on a different meaning. In the same manner, artists use old newspapers in their work to make paintings or collages. As a combination of colours and pigments transforms into an imprimatura foundation for a painting, in exactly the same manner, signs and symbols form the layers of an artwork’s compositional background.
Discipline is a contrast between what one wants and doesn’t want. The straight line is a discipline. On its own, it is a pure diagram, which nobody is interested in. But when one add the element of ‘non-discipline’ to that straight line, one ends up with ‘free art’. One needs rules, and also needs to break them in order to make art.
The nature that we find admirable, is functional, however, its depictions pursue only an aesthetic goal. The scheme is always functional, pragmatic and logical, however its artistic interpretation, divested of function and rationale, is much closer to art.