Alexander Korosteloff

The way I became a conceptual artist.

When the theory of exact connection between painting and music was formed eventually, I started transferring different famous sounds in music into abstract colorful pictures. There were such masterpieces as �Dog�s barking�, �Cat�s meowing�, �To Elisa� and �The Moonlight Sonata� of Beethoven and others. Sure, it was for the first time, it was a strong solid theory and no doubt it will change a lot. However the form didn�t meet my wishes. I didn�t want to exceed the limits of an easel painting. I always regarded an easel painting as a summit of the visual art. It means if you have something to say just take a brush and a canvas and say it! The same is in sport � 100 meters running: one doesn�t need much money, any equipment or a stadium. In general I didn�t want to create paintings accompanied by sound. An observer had to know a formula to understand and to value paintings. On the whole they didn�t differ at all. The same was already seen. So I decided to become impudent and to portray only a formula without illustrating it. All artists use only one invented by them (at best) formula during their life: for instance, Picasso used associative principle, Andy Warhol � repetition, Lichtenstein � points and so on. They are all well-recognized due to their technique. I had no my own formula, but I had a good idea. So I kept it only. Let people recognize me by it. I�ve made a series of paintings with colorful notes according to my scheme.

�By the way, what should I do with other ideas?� � I thought. It was pitifully to give it up, these ideas �weighed� something, if it is possible that an idea can weigh. What should I do with the theoretical studies which are not connected with painting and music? But most of all I didn�t want to give up the idea about a number in the art. I considered it to be revolutionary, I was sure it would turn over many conceptions, would give a new tendency in art, and would connect exact sciences and the humanities. When I understood that an indisputable element is to be a unit, I started searching for an appropriate presentation for this unit. It took me 7 years (�Painting and music� in its final form took me about 10 years). So once in my sleep I understood that the phrase about a number in art � it�s an indisputable unit because it�s truth. A formula impressed orally! By the way all my other paintings are also ideas, also formulas. Everything is inscribed harmonious: an artist creating formulas and the conceptual art. It�s not new as a form but due to this fact paintings aren�t less important. Their value is as high as valuable their formulas. They are beautiful by its own and you shouldn�t seek for them a special formula. Just a text, just a scheme! They will speak for their selves, they will cost much. I always regarded art as an intellectual product. So it found its logical expression. To become free from repetition, from what is called simple stupid work. To keep pure creative work!

I allowed it to myself and I am glad of this freedom!