Vilen Karakashev: Russian abstract and surreal painting master

Vilen Karakashev belongs to a galaxy of the artists, that played the major role in the development of poster art,  that began together with the social changes in life of the country in 1960th years. This cultural phenomenon was so significant, that until recently poster art has been greatly influenced by the discoveries of that time. And in  this almost semi secular process creativity of Karakashev together with  his colleagues, followers and pupils plays an important role. The success of the new system can be explained by the tendency of its founders to boost civil activity of people. The poster was addressed not to impersonal crowd, but to social conscience of each person.

So there was a necessity of creation of aesthetically-valuable product. Karakashev  has introduced the new aesthetics of the poster, new plastic culture and beauty. Style of his posters was so unexpected and bright, that the typographical workers, who printed the first prints, has kept them for themselves. It is remarkable, that all these works haven’t lost appeal after so many years. The events, depicted on the posters are buried in time, but Karakashev’s posters continue to live as fine samples of classical Russian art. By the way, some of these events, probably,  will remain in historical memory due to works of Karakashev.

             This also concerns  film-posters, which were the first works of Karakashev. They compete with the aesthetic qualities of the films, and quite often surpass them. Many of these films have already gone from the film industry, but posters continue to live in museum and exhibition use.

             Creative works of Karakashev and his colleagues have risen the poster to the same level as sculpture and painting, that was the supreme estimation of its aesthetic and public importance. Karakashev’s  poster was in the head of the art process due to it’s vanguard orientation. It has entered into social  life not only as its habitual attribute, but, advancing public processes, it addressed  to minds and consciousness of citizens, cracked stagnant political and social concepts.

From the very beginning Karakashaev’s creativity (that is perceived  as inseparable  from the work of his colleagues and followers) has entered serious opposition with the  poster art based almost on

peredvizhniki traditions, that made posters look alike  and hold  leading positions in Soviet art. The senior generation remembers these samples decorating « red corners » and house managements.

             Anyhow "organizational" difficulties have been overcome. Karakashev himself counts, that new art of the poster has generated on the basis of Russian art of 1920th  and follows the tradition of the first  Soviet posters. But this statement needs to be clarified. We shall not find in Karakashev’s works even indirect analogies with  products of that epoch. The artist simply took the main idea     that includes  active social position, freedom of creative search, comprehension of the historical past and present and achievements of world and native culture.

             Karakashev’s poster is initially intellectual. Deep knowledge of the fine arts, architecture, design, theater, music, the literature and philosophy led the artist to exact figurative decisions . It is combined with unique qualities of Karakashev  as an expert on psychology of perception and ability to react to changes of «a swift-flowing (hectic)life». All this should be multiplied by remarkable artistic talent.

             But the designer lack an opportunity of a verbose explanation, what is specific of the poster which composition should fit the graphic formula. Karakashev  possess some special skill of “stacking” certain vast concepts into an expressive sign, a metaphor, skill of connecting unconnectable  elements, magic of color, "beating" sub consciousness. This paradoxical movement of creator’s idea gives birth to the unique figurative decisions.

             Karakashev  is universal in his thematic preferences, he created the posters that depicted political events, reflected social and cultural problems, it seems that life of our country of last decades is embodied in his works. It is necessary to notice, that alongside with ordered works (an integral part  of this kind of art) many topical posters  have been created, as they say, «on command of heart». During certain periods of life, inspite of  financial difficulties he  rejected conformist  cooperation with the publishing houses, that demanded from the artist to betray his creative principles. Such position explains his attitude  to our ordinary life  and his  constant participation in various public associations and actions.

             The Trade of the modern designer is initially universal, for it demands possession of all kinds, genres and materials of graphic art, classical painting, skills of design craft. Painting and graphic art of Karakashev, especially during the last years, have gained, perhaps, not less  popularity, than his posters. It is necessary to note, that he had a remarkable  cycle of  graphic works, devoted  to India. Such cycle seems to be an unexpected turn of his creativity, for all his life and work was connected with essential problems, something visible and tangible. There are no tempting sights of the far exotic country. In search of absolute truth, the artist, as he says, led by unknown  forces, has touched upon the Indian philosophy. On the basis of the received knowledge and impressions of a trip to India he created the fundamental cycle of the hyper graphics, devoted to his  dreamland , that  probably, made him free from his temporary passion. This cycle seemed to be  the most serious philosophical event of his creative work (naturally, in the artists understanding of the Indian esoteric. 

             The Resume can be brief: Karakashev is one of the founders of new style in the modern fine arts.