Heimat: Vicissitudes and vitality of an inheritance
Dark light Houses. Sharp and troubled Houses. Disfigured and misshapened Houses. Acid burned drippings. Ebb and flow drowning all order, all foundation and seeming to associate the blindness of the world to the most intimate sightlessness. The idiosyncratic stroll is sought, where all thrill is interpreted as a sign of hope mingled with disappointment.
No warm alcove, no shore, the universe is depopulated, the remembrance of things past are times that cannot be regained. The flower is torn off and the inevitable composes with the glaring querries. A ghostly presence is grasping and yet invisible, incommunicability adorns this presence with a mysterious sweetness combining dream and nostalgia. The paintings are peopled with elusive light waves, dotted with recognizable irregular features. The Heimat is at the center of the figuration, his confused and disconcerting heritage gives birth to a conflicting feeling: what identity remains conceivable? What heritage remains adoptable? To adopt, since the transmission is hardly univocal, the donation needs acquiescence. The humming thoughts and the whispering minds leave no room for silence, how then to dispel the multiplicity of presents and pasts? How to define what one adopts and how one wills to be adopted? The universe is drowned in shadows, yet the palette is lively and the asperities are harmonious. The composition migrates from the ether to the abyss, and from the abyss to the sparkle. The facade is directly deployed, Yury Kharchenko’s edifice is strewn with inherited contradictions, it nevertheless augurs of a scintillating oriflamme filled with vitality. History has shed a legacy to be adopted, Yury Kharchenko’s Heimat mixes revocability and irreparable assent. The darkness of the past world is not deceived, it is transmuted, transcended by a chromatic song reminding at all times the affluence of a vital sap eternally fugitive, fugitively eternal.