Pavel Kir
Geometry of the Inner Universe
Distinct from his photographic interventions, the series encompassing Kuindzhi Magritte, New Hero 2, and Threads of Paris introduces a different dimension of Pavel Kir’s artistic investigation: a metaphysical architecture of line, rhythm, and abstraction.
Here, figuration dissolves completely. The artist constructs intricate systems of visual language—metallic lines, cellular patterns, concentric rhythms—that evoke both organic growth and cosmic order. The titles themselves act as conceptual portals: Kuindzhi Magritte merges two artistic legacies into a contemporary reflection on light and illusion; Threads of Paris weaves memory and geometry into a symbolic topography of perception; New Hero 2 transforms myth into diagram, emotion into structure.
In these works, Kir approaches the transcendental. The compositions function as visual scores for an unseen music—intellectual yet deeply emotional, methodical yet impulsive. What unites them is a persistent search for harmony between intuition and intellect, chaos and design, spirit and matter.
Within the context of Parcus Gallery, this series represents the artist’s evolution beyond the photographic: toward the pure, autonomous gesture of creation. It is an exploration of form as consciousness, of drawing as a universal grammar capable of articulating the ineffable.
Between Flesh and Vision
In his series of Photographic Prints with Acrylic Intervention, Pavel Kir transcends the boundaries between photography and painting, producing a synthesis that is as conceptual as it is visceral. His practice—represented by works such as Dead & Alive, They Are Close, Sea Food, Dialogue, and The Monument—proposes a renewed way of seeing the contemporary condition.
Each image begins as a photograph: precise, documentary, almost detached. Yet Kir reclaims authorship through his painterly gestures, covering, revealing, and reinterpreting the printed surface with acrylic and graphite. The result is neither photojournalism nor traditional painting, but a hybrid form that negotiates the tension between the visible and the invisible, between external reality and internal resonance.
Color in these works functions not as decoration but as consciousness. It is the trace of emotion made tangible—the residue of human presence over the neutrality of the photographic record. Kir’s interventions disrupt the passive act of looking, forcing the viewer to inhabit the space between observation and empathy. In this sense, his art restores to the image a kind of aura long lost to mechanical reproduction.
Through the projects now exhibited by Parcus Gallery, these compositions assert a subtle humanism. They suggest that even within a technologically saturated world, the artist’s hand can still speak—quietly, profoundly—of what it means to see, to feel, and to remember.
“Line is my instrument of truth. With it, I carve the image. And color — that is how I give it life.”
Recognized as one of the most distinctive voices of his generation, Pavel Kir stands at the forefront of contemporary art as the founder of Surgical Surrealism — a revolutionary movement that reshapes perception with methodical precision and transformative vision. Working as a multidisciplinary artistic force in painting, pop-art photography, performance, and multimedia installations, Pavel Kir dissects human existence with the accuracy of a surgeon and the soul of a poet.
MULTIDISCIPLINARY WORK
Global critics recognize Pavel Kir as an artist who expands the very boundaries of art, transforming it into a multi-art space. He acts as both integrator and experimenter, collaborating with musicians, actors, choreographers, and composers. His projects unite painting, music, theater, and ballet, moving into the realm of directing and producing, where each work becomes an immersive experience.
- 23/10/2025
