Oil, canvas, 120 x 140 cm
«Boris Khoshelokhov. III - 167»»
Boris Koshelokhov suggested translating his series ‘’Two Highways’’ as ‘’Two Great Roads’’. Both Russian and English ways correspond with two images of the roads that are not devided into different lines by Koshelokhov. They are shown as a complete unity. ‘’Two Highways’’ flying show a swift movement with taking off from the land into the world of speed time, the world where the roads of spiritual power can be revealed. It should be mentioned that spiritual power is responsible for ‘’the design’’ of the history of mankind. Simply speaking these hard ‘’Two Great Roads’’ are ways of hard space overcoming.
This is also a kind of measuring with his own footsteps, breath, years of his life and his fortune. Koshelokhov has never parted with ‘’Two Great Roads’’ initiating the birth of new images for more than one decade. He represents a global wave of morphological mutation moving across the world in endless time and space. We see the ancient inhabitants of the oceans, we swim out on the land inhabited by the people of Africa and Asia, we fly into the megalopolises of Europe and to the ice fields of the Arctic. The artist depicts the world as a process of great transition, as a huge road used by millions of bodies and human consciiousness. The road is turned by human creativity into a real highway that saves the genetic memory of earth, water, air, of those who are met at every kilometre of the way and of general substance governing the situation and the members of the movement. The computer graphics reveals a universal creative power of Koshelokhov, the figure – signs on the monitor enlarge and become the size of the brandmauer – the fire proof wall, then they become frescos, sculptures, film projections. His realised projects with all-embracing conception and plastic potential are not numerous in the history of arts.
Koshelokhov became an artist in 1975, and in 1976 a group ‘’Chronicle’’ gathered around him. Back in 1976 the artistic life in Leningrad was rather hard, it had lots of restrictions. He had to stand upon his rights to his profession several times. Once he had to be on hunger strike against imposing a ban on the exhibition didicated to memory of Rukhin. Since that time the histirical measurement has always been present in his works.. ‘’Our freedom had been born much earlier than we were born.’’ Koshelokhov has been painting a general portrait of the world existence where all human beings create their family hearthes, heathen temples and their life.