Mikhail Lezin



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When I start making a new work, I do not aim at some previously marked result. The process is prior. The mainframe principle is chance. As a basis for my works I prefer cheap paper, tarpaulin, wood, paints – building pigments and colors, oil and alkyd, pencil and oil pastel. The problem I am interested in is the interaction of pictorial componentry and technical drawing. The possibility of co-existence and discussion of incipient shapelessness and geometrical structures. Also I take an interest in the works’ «aging» - a modifying of a paint layer, paper’s yellowing. Every work moves through the time, like living organism, getting new features.

I make music synchronously the painting and drawing. Dub and noise make up the field of my musical experiments and this largely determines the nature of my art. If noise is destruction, then dub is architecture. Pictorial noise, unripe and unrestrained glitch. Dub structured by sharpness of black contour entwines in noise. I only manipulate rythm and sound of every picture when it is creating. As the result on the paper or canvas may appear a landscape or calligraphic composition.

Mikhail Lezin, 2008

Brief Concessions to Silence: Sh*t Happiness, Mikhail Lezin, and Electric Turtle
Massive Distortion: Tacky Dimes, Mikhail Lezin, and Lust
Mikhail Lezin: Extreme Formalism from the Depths of a Concrete City
Sabaka and Dya: The Tensions between Melody and Primitivism, Format and Noise
Dya: No Rehearsals, No Overdubs, and a Loud “Initial Formlessness”
Pokhot’: The Abstract Appeal of “Singalong Horror Death-Core”
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