Extreme accuracy of expression is the main feature of the works of David Plaksin

The artist successfully combines poster obviousness and pictorial ambiguity in them.

David Plaksin was born in 1936 and has experienced a lot: the depth of human wisdom in his works harmoniously combines with the young briskness of a pictorial language.

After graduating from the Serov Art School in 1957, the artist for many years went to his own style. The decisive role was played by the meeting with Nathan Altman and acquaintance with the work of Salvador Dali. The artist found a pictorial embodiment of his natural vital force in a tight as a spring, contour lines and rich tone of the image. In the mid-seventies of the twentieth century, Plaksin’s style was already about the same as it can be seen at this exhibition.

Plaksin’s works - an alloy of metaphysical realism and conceptualism. It is equally important for an artist what to talk about and how. He places photorealistically depicted objects in a mystical atmosphere - hence the dream effect.

Plaksin says: “Whatever I do, I always felt like a schedule and I had enough minimal visual means to express my slightly surrealistic ideas.”

Since the late sixties, David Plaksin has been designing and illustrating books, participating in major international exhibitions. In 1975, he took part in the famous exhibition at the Nevsky Palace of Culture, the second officially authorized exhibition of independent Leningrad artists. In those same years, David Plaksin began to write still lifes bearing a special double meaning. For example, vegetables in a tightly tightened plastic bag are a symbol of the suffocating Soviet system.

Since perestroika times, Plaksin focuses on socio-political topics, the development of which can be found in his work today. The artist constantly turns to memory - one that is deeper biologically possible. He uses archetypal symbols: desert, ancient ruins, statues, bread, salt. Not so long ago, Plaksin found a new topic, which he himself calls "Cuts." Like a scientist, he literally tries to penetrate the essence of things, cutting objects and showing the viewer the visible, sun-drenched external essence and the hidden black incomprehensibility of what is inside.

David Plaksin has a special talent for caring for life. Hence the conscious corrosiveness to the plot, when the pictorial language is concentrated to the limit.

In modern art, which sins infantilism, this is the most valuable gift.

Maria Yagushevskaya, Art critic