We live in the Universe of Malevich. But very rarely notice it. But Vadim Gushchin photographs everyday objects in such a way that it immediately becomes clear that they have originated from the “Black Square”.
The main idea of design is the sparing use of form. El Lissitzky first formulated this idea of the “suprematist object”. He was a pupil of Kazimir Malevich. While Malevich used the expressive means of painting sparingly, Lissitzky transformed his world for the needs of production. Since then, Malevich has been concealed in the depths of the industrial object.
In his rejection of illusionism, Gushchin follows in the path of Kazimir Malevich, along the path of pure forms.
There is a paradoxical effect in the photographing of objects. It would seem that it documents reality. That is, presents things as they are. In fact, for this it takes things beyond their usual context. That is, places every single object in a meta position. And the better the shooting is done, the more accurately the object is reproduced; the wider the format, the better the lens, then the more likely it is that the thing will be estranged from its usual existence. Having been photographed, things rise above the reality of their context. And Gushchin’s works intensify this feeling, due to the peculiarities of his perspective.
Gushchin offers us an image of the object that moves away from the banal mythology of the commodity. His photographs show us that fine line beyond which the ideal object mutates into a household item. He reveals the complex relationship between form and function, photographing everyday objects as cultural treasures.