Alexander Martirosov has come to the St. Petersburg series with a large landscapes experience. And - with some, I believe, - timidity: in fact, who has not just photographed St. Petersburg!
If in the previous series the artist was looking for structural patterns and spatial navigation marks in the full-scale situations, St. Peter is an embodied structuring, continuous sign! Without mentioning that the panoramic form itself involves a lot of cultural and historical connotations of the general type – line of heaven, a reference to the St. Petersburg views of M. Makhaev and V. Sadovnikov etc. Here a mass production of tourism should be added, which does not allot creative tasks, but covered the paradigmatic beauty with a "lacquer of thousand views" as L. Tolstoy said. The photographer had to find his own imaginative excuse of panoramic form. It seems to me, he finds it. First of all, it means (as opposed to purely advertising facilitating "passage" of the image - the product to the consumer's heart or stomach) to remove the automatism of ("lacquer", gloss) perceptions. To do this, he uses a kind of braking contact with classically architectural, specific. Two-thirds of the space (front and middle plans) landscape, representing the classic look of the Smolny Cathedral, fills in the broken ice. The vision is dived into unstructured mass, it is drowning in it. Then the image of overcome appears: architectural classic is not so accessible, we need some work to do to get not possession, it is early to talk about it but just simple contact ...
View of the Palace Embankment and the Troitsky Bridge is the same paradigmatic and here the idea of - no, not availability, but the demands of architecture is realized. Yes, it seems to be the right word - demands: the habit of automatically perceiving of architectural text should be overcome. But here it is not about the text, the right of access. Two parallel column-pier are hammered in to the foreground as nails. Then we can see a zone of broken ice, then wide ice-hole. The viewer is required to overcome this obstacle. In fact - the band of inertiavision: the susceptibility of the eye, the activation of the vision is worked through non-classical, for which paradoxically is set optics of the photographer. Photographer preaches: it is early to move to architecture not learning to experience simple light texture and spatial aspects, such as the contrast of the artificial geometry and texture of the granite embankment and natural organic sludge. It shall not be given into the hands.
Thus, it is time for categories of accessibility and overcome. Martirosov often uses other techniques of reflected photo-vision. The following reception of visual approach to meaningful (aka optical) center of the classical picture of the sword, flagstaff, the spear is located diagonally from front to rear, as it accelerates eye on these substantive and stops at the images of the main characters. As we can see, the photographer often uses braking method of perception, not this acceleration in the St. Petersburg series. But there are other examples. In the landscape of view to the Admiralty from Palace Embankment eye quickly runs up on the parapet diagonally, then "leaves" on the Troitsky Bridge. This run encloses a huge, almost interstitial (water and stone parapet, openwork bridge in the background) a piece of the city. This such a kind of minimalism is important to photographer as the moment of "sentimental education". Both his and the audience. Everyone will love the ceremonial city; it is more difficult to learn spatial and textured experiences in such ascetic material ...