The art of postmodernism, devoid of a whole paradigm, fully reflecting the attitude of the modern man, is tearing away contradictory tendencies. The innovative aspirations of the avant-garde and modernism have long become respectable classics, constantly faced with attempts to return to the historical artistic tradition, depriving them of revolutionary pathos. The contemporary artist is reluctant to question what the fine arts should be after the grandiose conceptual studies of the first half of the twentieth century have been completed, as well as all possible formal and Methodological techniques in fine arts.

Vitaly Grimakov, a painter with breadth and depth of knowledge, analytical capabilities, which can boast a rare theorist, a master who developed his own rigorous system of research and knowledge of the phenomenon of painting, dedicates Recent years of his creative work to find ways to solve this complex conceptual problem.

The master considers two pictorial systems – abstract, which excludes any display of the subject world in recognizable forms, and the subject, connected with traditional art values, as two separate poetics. But these systems have, in their deepest basis, the common roots associated with the logic of the human sensations to which they are both, after all, converted. In one there is a sign, in another sensual image. The artist is deeply intrigued by the metaphysics of moving from one to another.

The painter Vitaly Grimakov sees his actual task in the search of the system, revealing the unity of conditional and figurative poetics. The ultimate goal of the painter is to connect them into a single world in a harmonious merger. The results of this search are embodied in a new series of pictorial works, connecting different visual systems on the same plane and executed in the enlarged scale.

Vitaly Stepanovich completes a large series of very erotic and, even, in a good way, a few frivolous portraits “nude” with the general name “actresses”. Here he decided to “undress at last” his favorite kinacris, and Vitali, as any real kinman, abound. That’s it! And no metaphysics…. But seriously, the correct fungi still implies the presence of this most metaphysical component in its post-modernist varreve. Sometimes he calls it implied. Even Gridkov has a special section of his creative work, which he appreciates, not all shows and names as well as that old self-published magazine “Marks”. There’s plenty of metaphysics here. In general, it is a way of image, grown from the favorite creative heritage of “group 13”, which fungi and relates to the third direction and which is not alien to the aesthetics of the European minimalism and especially French mirabelism. There is everything-air, space, vibration, even recognizability of the object, and there is nothing at the same time except a few uneven lines and small spots-dots called “marks”. But regardless of whether it is a littleleaf fungus or a foovist, or just erotic-he never and nobody allowed himself to change. He lived as he wanted. One day he told me about his microscopic pension that he was offended by sin. All his life he slept, when he wanted, drank vodka, drew what he desired (or considered necessary) paintings, was fond of women (the last noticed by me), and now offended. After all, he drew, drew as he wanted.