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In the military dictionary the word “avant-guard” is defined, how group which goes in advance and наражается on resistance. In it is all Dmitry Nagurnyj. Still a quarter of century before Ukraine захлеснула a fashion on видеоарт, D.Nagurnyj in 1974 exhibited (соавторС.Гета) a conceptual slide-film, moreover and at foreign embassy. Крутобетонный the art semi-official organ has bristled up at once. Oleksandr Skoblikov – the chairman of the Union of artists of Ukraine – personally broke products of Nagurnogo from walls.

In the seventies the master has begun a severe way of search and self-improvement in aura of generation of “men of the sixties”. That spirit свободи which drink, during short “thaw”, promoted blossoming of talents of I.Dracha, M.Vingranovsky, S.Paradzhanova, Liny Kostenko, V.Vysotsky, B.Okudzhavi, E.Evtushenko, V.Silvestrova’s music, many other things, was reflected in spirituality of following generation. After movement of “men of the sixties” the idea of free art has got qualities of the creative program. As at half-open doors in the world, to us Federiko Fellini, Ingmar Bergman art with aura subconscious and a carnival has come from Europe. Ezhen Ionesku has opened to a society единонаправленного thinking of depth of psychological paradoxes at absurdity theatre. Albert Camus existentialism has deepened consciousness. To “men of the seventies” addressed Thomas Mann, James Joyce, Garcia Marquez, Horhe Luis Borches, Vladimir Nabokov and others.

«Всесвіт» (the Ukrainian school of transfer headed by G.Kochu-rom), «the Foreign literature» and other editions opened intellectual galaxies, the unknown worlds for the Soviet person. Ozone rains have washed off a veil from spirituality eyes, распотрошили «закостенелость» (L.Medvedja’s term) соцреалистического dogmatism and интелектуальной limitations. And though resistance of system was сумашедшим, including destruction and removal from public life of conductors of resistance – Alla Gorsky, Opanasa Zalivahi, Evgenie Sverstjuka, Ivan Svetlichnogo and tens more and hundreds invincible dreamers about a freedom of speech and spirit, – an image of the multidimensional world, to generation of 70th years – has been shown. Further depended on everyone. In dialogue atmosphere between «fizi-kami and lyric poets», in a shock from space wanderings of mankind, from immersing in the undercover worlds kafkiansko-boshovskoj подсознательности, D.Nagurnyj began own way.

He dreamt monumental ideas of the future, from here – «sensuality of mechanisms» in the author’s program.

Колоризм it was brought up on a fauvism, on Cezanne’s mobile colour weights. From A.Bergsona’s philosophy the idea of “viscosity of events» (duree) has come. Since then movement and time became obligatory. Time as the fourth measurement of space lives in D.Nagurnogo’s each composition.

Here it is found its admiration, still by recently forbidden “Americanisms” – a sparkling surface and design of a car, «синема» – «космо» – “body” – reflexion in glass of the skyscrapers, all signs fascinating техноцивилизации with its rhythms, pressed time and коллажеванием the figurative world. For D.Nagurnogo who already in 15 years has tried own artist’s bread as the designer and the designer-advertisement maker, the American dream (without иронизма Andrew Vorhola) was defined as «cultural shock», has entered not only into consciousness, and and in subconsciousness. From here – рацио and a rigid skeleton of its compositions and avoiding of elegijno-romantic reflexes. Even the free nature and an image of the woman in its products are entered in frameworks of rational suspension.

Dmitry Nagurnyj – созидатель. The first structure created under own project, – he and its art world.

The painter-sculptor of monuments, the author of frescos, secular and religious painting, витражист, the master of the academic drawing, the expert класических painting systems … Universal, similarly ренесансной, the self-creation program, has generated the person with strong man’s will and logic, with mentality of the superman. Before eyes there were generation idols – E.Heminguej, and P.Pikasso.

In an is narrowed-spiritless climate semiallowed that defined official art life, D.Nagurnyj, as well as others individual «internal emigrants», has received also the excessive hostile relation, indifference and artificial hushing up.

All created by the master in 70-80 years, – it професионализм, civilisation and congenital небезразличие to another – a generation – sign has worked all a detonator during national accident. Chernobyl – black and terrible, red wood from radiation, the reactor which hotly breathes on heated to 40 ”the earths of Ukraine.

Kiev is left by all who has possibility to be aside.

And Dmitry goes at this time to a zone. Later he will write down: «Chernobyl explosion by a bitter echo has responded my own creative explosion. A theme has felt« in a live way »on two creative business trips (May, June, July, 86) … the Chernobyl theme and it is awful (the majority of liquidators which I drew, for a long time already have died of terrible doses of radiation), and in a creative way it is interesting. Here where, really I could apply all the« polystylistic »диапазонот documentary« гипера »to most« оторваной “abstractions”.

The author’s estimation of own stylistic receptions is interesting: «the Portrait of colonel Anatoly Firfarova» (the pilot of the helicopter) it is executed in pure «гипере», but with the underlined powerful invoice, mentally, I all time addressed to great maestro Rembrantu.

The second portrait is penetrated by futuristichno-abstract structure or, even, radiation ».

The nervous, creative and physical overstrain, the big radioactive dose have resulted Dmitry not only on a hospital bed, and and in heuristic vision. Accident, its judgement has given special weight to meaning of the life and art as its crowns.

Dmitry Nagurnyj offers colleagues-sculptors of monuments break from settled to vanguard, and idea of an innovative exhibition “Pogljad”. It has taken place in 1987 at progressive Polytechnical institute (КПИ) as the has hardened-frightened Union hudozh – ников even «the Postchernobyl era» has hardly shifted from dead models of consciousness.

«Погляд» has made break in new «thinking, has opened names of creators which well are known today by the world». Own initiative, self-esteem of free persons opened Ukraine as new continent.

D.Nagurnogo’s hyperrealism – its nature in зореокости the observant avant-gardist. Excessiveness of a reality as in «the Blue planet» (1984) or in the American compositions with a car and other design elements, and especially in «a Chernobyl series» (1987), does the image more really, rather than a reality.

This sight of an analyst-realist in which there is “reality-plus”, reaches гипертрофированой similitude, almost «obscenities наявного». It is excessiveness of a reality from which to become terribly. Eventually «гипер» Nagurnogo leads to psychological paradox. The effect of cinema – of arrival, a close up, photographic inevitability – in the course of supervision is liquidated: passes in the plan surrealistic, ирреалистический. Force of presence – stuns a hyperreality – with sensation of laboratory-optical alienation, дистанционности, – other measurement. Dizzy accuracy reaches metaphysics сущного, separated by the artist and kept away from us. The tsivilizatsionnyj cold, rational game of intelligence with which D.Nagurnogo’s compositions blow up remind of alarms Osvalda Spengler concerning the termination cultural (дионисийской) Europe and approaches total рациопрагматизма.

Fortunately, hyperrealism phantoms – only an iceberg part by name of Dmitry Nagurnyj. His soul, art thinking – the concealed zone “taboo”, self-determination forms – a contradiction essence.

As the child of a civilisation, a victim and the singer of its rhythms, regional ohms, deformations, its faultless logic which has been brought up on пуризме by Le Corbusier and Frenka Lloyd Right, D.Nagurnyj has connected in painting the polar: a design with a deconstruction. Names of architectural giants ХХ of century – here not accident. The artist is enamoured of architecture with stones and spikes of cathedrals, with reflexions in glass модерных industrial constructions. Compositions with inclusion of architectural motives – доминантны in creativity of the maestro. Architecture from sees as space part, in movement, in flight to ноосферных and stratospheric open spaces. Actually, by it also it is denied rational пуризм in D.Nagurnogo’s thinking. It begins inventive game with коллонами, portals, roofs which are deformed, flying away in space, and turn in кубофутуристические structures. As at each of generation which anew opened for itself, still recently forbidden O.Ekster, D.Burljuka, A.Bogomazova – rebellious avant-gardists of 10th years ХХст. D.Nagurnyj has a mighty injection of futurism as style. Therefore, it autocratically alters and зашифровует the maintenance, in futuristic delight creates a new reality.

Очерченность designs loses from game of the master in the irreal. Therefore through walls, its scenery, rather than is faster than architecture, splinters of mirrors, little tables with not drunk up bottles, stood phones – the semierased signs on other measurement sparkle. That should stand strong on the earth, balance is broken. Time and subjects as are suspended on a powerful space string which is shaken as a pendulum of God in «orchestra Rehearsal» F.Fellini. The galjutsinarnoe state of weightlessness causes sensation of dizziness of consciousness flight in unknown measurements. The created images of the spiritualised houses and the inspired cathedrals captivate creative сингуляцией.

D.Nagurnogo’s urbanistic “metaphysics” – other nature, rather than dreams of Dzhordzho де Kiriko. D.Nagurnogo’s imaginations – spiritual перекликание with subconscious, avant-guard of beginning ХХ of century.

Its basic eclecticism and полистилизм, born from marriage of futuristic programs with art метафоризмом 70 – the beginnings of 80th years. Metaphorical allegorical meaning was then a screen for eloquent truth. In D.Nagurnogo’s povestvovatelno-literary compositions метафоризм, condensed to level of multivector informative event. In this means of dialogues with opened and tattooed Dmitry Nagurnogo’s generation showed itself to the world.

In beginning ХХІ of century Dmitry Gorbachev writes: «the Temperament released from пут of consciousness, has unexpectedly thrown the artist in a fauvism, in эксплозииную … animal царину». For the present it is a creative episode. Brought up within the limits of logic designing, D.Nagurnyj does not give full will of intuition. And it is vain, as he aspires to it, to it comes nearer. The master on the journey.

Olga Petrov