It's not enough to say about Sergey Nikitin’s painting that it is intuitive, spontaneous, expressive, abstract with elements of archetypical figurative. Artists with such characteristics follow the venerable tradition of the classical avant-garde, dating back to Kandinsky, Klee, Miro, and others. It is also important to understand why the artist has chosen this particular way in the art and what his personal contribution is.
It's fair to compare this kind of art to art therapy when the artist is either a patient or a doctor. Dubuffet or Basquiat, who are so close to Sergey Nikitin in their manner, are undoubtedly patients: art treats their existential ailments. But our comrade is a doctor. He came to the art to install into the humankind an overload of sensation, experience, and understanding of life as a value in its nonstop instant to restore its lost ability to be happy.
The psychocorrection tool of Sergey Nikitin is a spontaneous motion technique that helps projecting well-being, emotion, and vision onto the canvas directly, without reflection. The Art interacts with the audience through their observation of the work process, via co-participation in the act of creation, via study of the finished product, which is being structured in front of your eyes from the colorful irrelevant chaos into the rigid composition. And here comes the revelation of the collective and individual unconscious - not one of the displaced traumatic experience, but one of the blissful experience of total pleasure and serenity of an infant.
The figurative pattern of Sergey Nikitin's artworks goes back to the unbalanced brightness of the sensations of early childhood. He reconstructs a pre-object vision of an infant when holistic entity have not yet been formed. In a puzzle of mixed-up initial impressions, the original images - schematic hints of something identifiable to objects of reality - begin to appear. Sergey’s favorite motifs are huge faces, headlegs (typical for kids' pictures of a man with a reduced torso). The connections between the figures are not spatial or narrative, but ones of emotions and experience. Space and time in this mindset are neither the objects of observation, nor the ways of thinking, but something indivisible with the inner world of a sensing and sensitive organism. The depth of Sergey’s paintings is not visual, but effective. It becomes clear in the overlaying layers of paint, in lines and spots, exposed one under the other.
Sergey’s creative method is reconstructive improvisation, immediate painting on a canvas without a preconceived concept. The end is unpredictable. But after the spontaneous discharge of a portion of lines and spots is followed by additives that transform the colorful agglomerate into a conglomerate and then into a stable structure. At a certain point, a dissonance is entering the seemingly settled harmony - either it is the author's strong-willed hooliganism, in order to spoil the emerging beauty, or an accidental mistake that violates the balance of forms, or someone else's intrusion during collective work. And the author with subsequent additions and overlaps again is turning the plastic dissonance into the consonance, and the confrontation into synergy. The whole process represents the pulsation of phases «chaos - harmony». The resulting composition is folded into a stable system of vertical-horizontal support structures, which reduces the rampant tensions and emissions, though traces of this pulsation are clearly visible.
Sergey’s algorithm follows the methodical recommendation of one of his teachers, which states: break the logic. So he breaks it all the time, but then he restores it at a higher level of complexity.
Sergey’s art study was concise but effective. It was not about the art of the image, nor the artistry of the technique, but about the problem of design. A few lessons from three artists were enough to understand the main idea in the art and to independently improve in the chosen direction, enriching, complicating, or maybe simplifying own artistic language for the rest of the life. By Tamara Zinovieva