"I think there is no need to title works, individualize, and date them. There is need to unsign, merge, and to mess up with time of its production."

Vladimir Umanets

Vladimir UmanetsCeci n’est pas une pipe2014The title of this work translates as ‘This is not a pipe’ and refers directly to the famous ‘The Treachery of Images' (French: La trahison des images) – painting by surrealist René Magritte. Magritte was pointing that what is visible isn't necessarily real, that representation of pipe, painted by him, is just a representation and not an actual pipe. Magritte didn't paint a pipe, he has painted a painting. Vladimir Umanet's work doesn't represent any figurative scene. It's an abstract painting, made more in a style of American action painting. But with its title, the author suggests, that what is shown, is indeed a representation of a pipe (the same as Magritte has painted in 1928–1929) in the form of dripping black [paint] on the fragment of wooden architectural element. This kind of thinking derives from the idea of Yellowism, which concentrates on the possibility of reversing of meanings.© Vladimir Umanets. All rights reserved.Photo: © Vladimir Umanets. All rights reserved.

Vladimir Umanets
Ceci n’est pas une pipe
2014

The title of this work translates as ‘This is not a pipe’ and refers directly to the famous ‘The Treachery of Images' (French: La trahison des images) – painting by surrealist René Magritte. Magritte was pointing that what is visible isn't necessarily real, that representation of pipe, painted by him, is just a representation and not an actual pipe. Magritte didn't paint a pipe, he has painted a painting. Vladimir Umanet's work doesn't represent any figurative scene. It's an abstract painting, made more in a style of American action painting. But with its title, the author suggests, that what is shown, is indeed a representation of a pipe (the same as Magritte has painted in 1928–1929) in the form of dripping black [paint] on the fragment of wooden architectural element. This kind of thinking derives from the idea of Yellowism, which concentrates on the possibility of reversing of meanings.

© Vladimir Umanets. All rights reserved.
Photo: © Vladimir Umanets. All rights reserved.

Vladimir UmanetsMy heart and soul2014 Steel (fragment of car exhaust pipe)14.5 x 51.5 x 9.6 cm5 11/16 x 20 1/4 x 3 13/16 in.© Vladimir Umanets. All rights reserved.Photo: © Vladimir Umanets. All rights reserved.

Vladimir Umanets
My heart and soul
2014 
Steel (fragment of car exhaust pipe)
14.5 x 51.5 x 9.6 cm
5 11/16 x 20 1/4 x 3 13/16 in.

© Vladimir Umanets. All rights reserved.
Photo: © Vladimir Umanets. All rights reserved.

Vladimir Umanets#182112011 Mineral glass wool,  acrylicOverall display dimensions variable 2060 x 1215 x 510 mm (approx when displayed at NVYC)Studying Graphic Design at the Academy of Fine Arts in Poznan, Vladimir Umanets was highly inspired by works of his tutor artist Miroslaw Balka, co-founder of be-bop style Charlie Parker, unique experience of silence in anechoic chamber described by John Cage, and lectures given by musician and composer Zbigniew Karkowski. These influences have lead Umanets to usage of mineral glass wool as primary material in his sculptures. Explaining the meaning of this insulator, Umanets noted in his journal: ‘Due to its properties, wool is reflecting ‘imaging’ my own world, which is based on muting and regression, rather than progression. It’s opposed to any growth or development. Wool always will absorb [sound waves as information] regardless of the subject, range, status and importance. What is absorbed loses its sense, because the total process happens regardless.’#18211 was shown in NV Yellowistic Chamber in Cairo (Egypt) right next to Umanets’ and Marcin Lodyga’s studio, couple of months after Manifesto of Yellowism was presented in public for the first time. At that period, yellow walls of yellowistic chambers were defined as the only neutral background for all works of Yellowism. This was later changed on violet. For Umanets and Lodyga, yellow colour in Yellowism is posing an intellectual matter. Their move from yellow to violet was motivated by minimising the association of Yellowism with visual appearance of yellow.© Marwan Abd El-Alim and Vladimir Umanets

Vladimir Umanets
#18211
2011 
Mineral glass wool,  acrylic
Overall display dimensions variable 2060 x 1215 x 510 mm (approx when displayed at NVYC)

Studying Graphic Design at the Academy of Fine Arts in Poznan, Vladimir Umanets was highly inspired by works of his tutor artist Miroslaw Balka, co-founder of be-bop style Charlie Parker, unique experience of silence in anechoic chamber described by John Cage, and lectures given by musician and composer Zbigniew Karkowski. These influences have lead Umanets to usage of mineral glass wool as primary material in his sculptures. Explaining the meaning of this insulator, Umanets noted in his journal: ‘Due to its properties, wool is reflecting ‘imaging’ my own world, which is based on muting and regression, rather than progression. It’s opposed to any growth or development. Wool always will absorb [sound waves as information] regardless of the subject, range, status and importance. What is absorbed loses its sense, because the total process happens regardless.’

#18211 was shown in NV Yellowistic Chamber in Cairo (Egypt) right next to Umanets’ and Marcin Lodyga’s studio, couple of months after Manifesto of Yellowism was presented in public for the first time. At that period, yellow walls of yellowistic chambers were defined as the only neutral background for all works of Yellowism. This was later changed on violet. For Umanets and Lodyga, yellow colour in Yellowism is posing an intellectual matter. Their move from yellow to violet was motivated by minimising the association of Yellowism with visual appearance of yellow.

© Marwan Abd El-Alim and Vladimir Umanets

Vladimir Umanets (aka Wlodzimierz Umaniec) (b. 1986) River Landscape 2002 Oil on boardInscribed ‘В. Уманец 2002’ (on the front)This painting was painted by Vladimir umanets at the age of 16 in Grodno (Belarus) in  the summer of 2002, being under great influence of works of Russian landscape painter Arkhip Kuindzhi, especially his sketches. The view is taken from the opposite side of the Neman River, with Church of the Discovery of the Holy Cross and Bernardine Monastery in the middle.© Vladimir Umanets. All rights reserved.Photo: © Vladimir Umanets. All rights reserved.

Vladimir Umanets (aka Wlodzimierz Umaniec) (b. 1986) 
River Landscape 
2002 
Oil on board

Inscribed ‘В. Уманец 2002’ (on the front)

This painting was painted by Vladimir umanets at the age of 16 in Grodno (Belarus) in  the summer of 2002, being under great influence of works of Russian landscape painter Arkhip Kuindzhi, especially his sketches. The view is taken from the opposite side of the Neman River, with Church of the Discovery of the Holy Cross and Bernardine Monastery in the middle.

© Vladimir Umanets. All rights reserved.
Photo: © Vladimir Umanets. All rights reserved.