Overview

I see these paintings as a philosophical and psychic junction, where human-like representations undergo psychological atomization in search for self-identification and restructure.
I am attempting to address the issues of contradictions and irrationality, assimilation and dissimilation.

Protagonists in my work have no references to the media, known personalities or plots.

They are the visual implants of my hand and mind and are imbued with the conscious and unconscious, the associative flashbacks, artistic, historical and social references.

The works examine the opposition between submission and resistance, relaxation and tension, which are expressed in the counteracting movements of the figures, as well as in the contrast of colors.

Overview

I see these paintings as a philosophical and psychic junction, where human-like representations undergo psychological atomization in search for self-identification and restructure.
I am attempting to address the issues of contradictions and irrationality, assimilation and dissimilation.
The works examine the opposition between submission and resistance, relaxation and tension, which are expressed in the counteracting movements of the figures, as well as in the contrast of colors.

Overview

Overview

I see these paintings as a philosophical and psychic junction, where human-like representations undergo psychological atomization in search for self-identification and restructure.
I am attempting to address the issues of contradictions and irrationality, assimilation and dissimilation.

Protagonists in my work have no references to the media, known personalities or plots.

They are the visual implants of my hand and mind and are imbued with the conscious and unconscious, the associative flashbacks, artistic, historical and social references.

The works examine the opposition between submission and resistance, relaxation and tension, which are expressed in the counteracting movements of the figures, as well as in the contrast of colors.

Overview

I see these paintings as a philosophical and psychic junction, where human-like representations undergo psychological atomization in search for self-identification and restructure.
I am attempting to address the issues of contradictions and irrationality, assimilation and dissimilation.
The works examine the opposition between submission and resistance, relaxation and tension, which are expressed in the counteracting movements of the figures, as well as in the contrast of colors.

Overview

My works on plywood panels consist of layered graphic and coloristic elements juxtaposed with expressionism and flatness. In this body of work, I have employed computerized mechanical reproduction to yield a singular picture, which opposes Warhol’s serialization. I have transformed the pictorial representation through the silkscreen. These internal connections somewhat resemble the musical principle of variations on a certain theme in which a formal motif is subjected to ideas of repetition, dissonance, inversion, modulation, transposition and transformation.
My works contain elements from the Russian avant-garde utopian mythology, Neo-Expressionism and the “sublime” light of the Romantics, with mystical connotations, moving between figuration and abstraction, stereotype and belonging, irony and deadpan expression. Diverse experiences in various artistic fields have been instrumental in shaping my vision. I am compelled to ask questions of visual context: is my work representative of painting, design object, wallpaper, decorative panel or garment pattern? Where is the boundary between design, trend and art?
The photographic portraits convey emotional features through modifications of the dreamlike vocabulary of Surrealism, creating pictorial tension through manipulation and distortion.
“Behind the Face” represents a human figure upon whose face a vastly enlarged full tooth, with its radicular portion, covers the whole area beneath the nose. “Through the Face,” on the other hand, is an entirely abstract painting presenting nine circular forms upon a ground that is a vibrant array of miniscule circles. Dominated by a swirling vortex of deep orange and white encircles the picture surface, “Through the Face” is a diametrical opposite of “Behind the Face.” This pairing of the figurative and the abstract as a body of work parallels the pairing of painting and photography via the silkscreen. It also attempts to portray the two oppositional aspects of the phenomenology of vision.

Overview

My works on plywood panels consist of layered graphic and coloristic elements juxtaposed with expressionism and flatness. In this body of work, I have employed computerized mechanical reproduction to yield a singular picture, which opposes Warhol’s serialization. I have transformed the pictorial representation through the silkscreen. These internal connections somewhat resemble the musical principle of variations on a certain theme in which a formal motif is subjected to ideas of repetition, dissonance, inversion, modulation, transposition and transformation.
My works contain elements from the Russian avant-garde utopian mythology, Neo-Expressionism and the “sublime” light of the Romantics, with mystical connotations, moving between figuration and abstraction, stereotype and belonging, irony and deadpan expression. Diverse experiences in various artistic fields have been instrumental in shaping my vision. I am compelled to ask questions of visual context: is my work representative of painting, design object, wallpaper, decorative panel or garment pattern? Where is the boundary between design, trend and art?
The photographic portraits convey emotional features through modifications of the dreamlike vocabulary of Surrealism, creating pictorial tension through manipulation and distortion.
“Behind the Face” represents a human figure upon whose face a vastly enlarged full tooth, with its radicular portion, covers the whole area beneath the nose. “Through the Face,” on the other hand, is an entirely abstract painting presenting nine circular forms upon a ground that is a vibrant array of miniscule circles. Dominated by a swirling vortex of deep orange and white encircles the picture surface, “Through the Face” is a diametrical opposite of “Behind the Face.” This pairing of the figurative and the abstract as a body of work parallels the pairing of painting and photography via the silkscreen. It also attempts to portray the two oppositional aspects of the phenomenology of vision.

Overview

Leonard Kogan paints imaginary landscapes that draw upon a far-flung lexicon of forms: light, fire, clouds, mountains, skies and contorted figures. His oil paintings orchestrate flatness of the painterly surface with illusions of depth. The semi-glossy surfaces of these works are multilayered with arresting vibrant colors.