There are colors and magical forms which, the moment they are seen and represented, already carry a meaning. They do not require a solution, only intuitive and emotional penetration. Such is the goal, though unreachable, that I try to reach in my painting. I am very interested in the creation of new abstract forms - variations in technique, advances in craftsmanship, unusual patches of color, etc. Sometimes I introduce, here and there, something representational, a plant or an animal.
Painting continues to have priority in the dramatic art of color; it knows the meaning of colors. Just as conceptual art is assimilated to thought, so painting is to color. The language of color is both the oldest device, capable of influencing our emotional state, and at the same time the most convincing device. Red is the color of expression while blue indicates elevation and distancing. Now is the time for the domination of blue, the necessity of blue, the depth of blue. Like no other color blue refers both to height - the blue of the heavens - and to depth - the blue of the waters, of dreams, of the night. According to Buddhist tradition and modern scholarship blue is the color of the unconscious. Its mysticism cast a spell over painters of the early Renaissance, especially Giotto and Piero della Francesca. In working on my own compositions I always remember my favorite painters.
Among the essential principles informing my work is the formula of the painter Yuri Kuper: "a modern painter teaches the visual sciences. In order to reproduce something on a canvas or in any other medium it is essential to know the nature, the structure, the anatomy of these objects so as to be able to give them shape." The painters of the 1920s, Kandinsky, Malevich, Rodchenko and Tatlin, are a striking example of this formulation. Freshness of perception, subtlety of composition and an innovative spirit – such are the characteristics of this second Russian avant-garde.
In Sergey Vasilyev’s paintings construction and graphic style are of the essence. The arrangement of colors is carefully thought through. The artist adopts generalized formulae, translating them into conventional signs which, in association, determine the painting’s symbolic meaning. He thereby reveals a kind of meditative state, and his work, which is full of imagination and fantasy, acquires a lyrical and dream-like quality. He is inventive in his handling of paint, subordinating the general to the particular, and organically linking movement and stasis. His inner self is always in harmony with the outside world, giving the spectator enormous scope for interpreting his abstract compositions.