lucida momenta
Uladzimir Parfianok
index
biograhy
publications
photography
links
contact
rus/bel
publications
valery lobko. photography from minsk grant kester. a western view nadzeja karotkina. new belarusian photography nadzeja karotkina. lucida momenta

lucida momenta
by nadzeja karotkina (
1994)

 

Uladzimir Parfianok's series 'Lucida Momenta' (1994) can be perceived indirectly using the vocabulary of psychiatry, as a short-lived enlightenment in the everyday consciousness which has been affected by the disease of normative perception of the world. 'Lucida Momenta' suggests to our imagination that it should reject superficial stereotypes, and instead walk the multistage ladder to the author's "Ego," sharing with him his lonely game, full of contradictions and paradoxes.

Besides the immanence of the author in every sequence, he is also the photographed object, the actual acting character of the series, and the defining part of the portrayed situation. In this way, 'Lucida Momenta' ceases to be merely a reflecting appeal, addressing the surrounding material world, and becomes the author's penetration into his own essence, in a way an approach towards Existence.

Here, light and shadow are not byproducts of reality, but the personification of conflicting principles which may be expressed symbolically as Optimus and Pessimus, as Active and Passive. And here we meet with the first paradox: the author's "I" (Shadow, Pessimus) is carrying out an active form generating function, whereas Light - an optimistic principle - stays passive and subconsciously desired. (Is it not indeed in this paradox where the harmony of opposites is hidden?)

Uladzimir Parfianok.
"Lucida momenta". Vertical sequence of 8 b&w pictures (total size is around ~ 60 x 160 cm.)

[ 1 ] [ 3 ] [ 5 ] [ 7 ]
[ 2 ] [ 4 ] [ 6 ] [ 8 ]

The sensual game begins with a latent attraction to a round, shining object (1), and with the peculiar "hunt" that ends with a seeming victory (2). Victory is succeeded by Caution and Doubt. Shadow loses its dynamism, the acuteness of the conflict is being effaced, an illusion of peace and harmony appears. (3-6). Behind the seeming lull is the border between being and not being - the borderline condition of Loneliness. Finally, the game stops with a gesture of rejection and alienation (7, 8). The "Ego" wins. Lucida Momenta slip away, leaving only a shining phantom of Clarity in the human memory.

The author consciously ignores sharpness of image, in this way achieving a special unpronounced charm. The absence of too abundant reality in the photographs is another paradox of this series. The anti-pornographic language of Ul. Parfianok's photography is confronted with a fragmentary approach to the composition of every single module in the series: Attention to the fragment, and the detail on one side, and impossibility to examine, and totally perceive it on the other. In this contradiction, I believe, is contained the greatest merit of the author's photographic thinking.

 

Nadzieja Karotkina

 

This article was published in KATALOG. Quarterly magazine for photography. March, 1995. Vol. 7, no. 3 (Copenhagen).

 

 

 

 

 

 

up

publications
valery lobko. photography from minsk grant kester. a western view nadzeja karotkina. new belarusian photography nadzeja karotkina. lucida momenta

© 2002-2015 edited & designed by uladzimir parfianok