Lepopisana

Georgi Costakis je bil leta 1913 v Moskvi rojen sin grških staršev. Od leta 1940 je bil zaposlen na kanadskem veleposlaništvu. Bil se sicer vodja tehničnega osebja, vendar je med njegove naloge sodilo tudi spremljanje tudjih diplomatov, ko so obiskovali antikvariate in umetniške galerije. Ni bil deležen izobrazbe s področja umetnosti, je pa posedoval izjemen čut za estetiko. Ni trajalo dolgo, ko je začel zbirati različne umetniške predmete: slike flamskih slikarjev, rusko srebrnino in porcelan, igrače in ikone. Leta 1946 je nastopil čas, ki ruski avantardni umetnosti ni bil naklonjen. Takrat je opazil sliko Olge Rozanove, ki ge je prevzela do točke, da je pričel zbirati dela ruskih avantgarnih umetikov. Njegov pristop k zbiranju je bil po svoje poseben. Niso ga zanimala samo velika, zaključena in pomembna dela velikih in uveljavljenih umetnikov. Zbiral je kateri koli material, ki je nastal v tem obdobju, kar koli bi ruski avantgardni umetniki ustvarili. Od slik, do risb in študij,

How many more blue paintings are you going to paint? As many as I have to. It's OK, I didn't mean anything ... This might be a conversation that took place I don't know how many years ago, between a person I know and a person I don't know. The person I know reported it when we spoke about my paintings being mostly blue.  This painting is development of a sketchbook idea from my previous post. Calligraphy is becoming more and more abstract. It's still uncial, written as it should be. Strokes are coloured after the letters were written and words are not important anymore. There's no text here, just shapes made by strokes overlapping each other. Do kdaj boste slikali modre slike? Dokler bo treba. No, saj je v redu. To bi lahko bil pogovor izpred ne vem koliko leti, med osebo, ki jo poznam in osebo, ki je ne poznam. Oseba, ki jo poznam, se je pogovora spomnila potem, ko sem rekla, da so moje slike večinoma modre. Tale temelji na ideji iz skicirke i

I went to see the exhibition on Russian Avantguard in Villa Manin in Italy. I don't really know why but cubism always inspires me. In this case it was cubo-futurism, a blend of French cubism and Italian futurism, bot not only that, or so the catalogue says. I'll return to the exhibition another time. Anyway, I kept thinking about letters in such a context. Not just written over other letters to the point of illegibility. Suddenly text became irrelevant. Only letters mattered. Their shapes and strokes that are given a sort of independence. Like words when people speak at the same time in a crowded place and all that can be heard are independent words, parts of them, syllables or just sounds. Over and over ... Pred časom sva bila na razstavi ruske avantgarde v Vili Manin v Italiji. Kubizem me je vedno inspiriral, pravzaprav ne vem zakaj. Tokrat je bil kubo-futurizem, kombinacija francoskega kubizma in italijanskega futurizma, vendar ne samo to. vsaj katalog prav