Statement by the artist who also writes,
"sorry for bad English, I use computer translator."
In the "Parachuter" we find the same opulent texture being employed to create form as well as decorate the shapes. Here the possible use of a digital filter, such as Paint Alchemy's "Molecule" brush, seems evident and I realize that Afanassy's technique must also involve cutting and pasting appropriate elements into a whole composition, yet another expansion on the technique of digital collage. (See Ileana Grillo's Frometo's work.) The bright colors encountered in "Parachuter" along with the shining surfaces recalls bags of hard candy from childhood Christmases. This memory of childhood joy is linked to the ecstatic expression of the parachuter himself, and we realize a feeling of the freedom and exhilaration one experiences once free of earthly bonds, floating among the clouds.
There are several works like "Spectator" that show a darker side. In these works the opulent, pearlescent texture drained of colorful hues begins to look fetid. The dichotomy of the figure's pleasant expression against the grayish almost sickly skin tones gives this piece a good dose of mystery. As in "The Fan", we are challenged to put together in our minds both the colorful and the grotesque. "The Wall" is not a solid obstacle at all, but an obstacle of people, smiling people and not so helpful hands. Is it meant to symbolize bureaucracy? This is what makes Surrealism such a challenging and elegant art. It forces one to think (and what could be more dangerous?). In "Direction" we have a triptych that is a carnival of color and texture with figures emerging and receding from the confetti-like activity of the background. Within each panel figures are pointed in different directions, smiling, going forth with the empty- headed ecstasy of volunteer firemen. Is this simply an observation of human folly or political comment?
As a digital artist myself, I need to penetrate beyond the poetry into the mechanics, but here I must admit I am a bit stumped as to how Afanassy achieves a lot of his effects. In "Tree" which re-visits the structure we see in "Wind", I see the use of Painter's "Image Hose". In "Travel", another familiar Surrealist tableau of excerpts from a dream (hinting that there is a story being told) indicates to me the use of cut and paste against a simple fractal-generated background. But how do you explain the crystalline colors that hang like bits of cellophane from the branches of "Flover" and how is that omnipresent pearl-like texture really created? But mystery is good. It drives one to discover and experiment. I suggest a visit to Afanassy Pud's own website, where you will see the graphic pen-and-ink figurative style that infuses and populates his digital work. But one does not have to make a study of his work to find it immensely engrossing, stimulating and rewarding. One only needs to look with sharp eyes and an open mind. Poetry and Surrealism have always gone hand in hand and I am pleased to see that, in the hands of Afanassy Pud, the computer is clearly shown to be an instrument that serves the artist and expands the vocabulary and impact of his work.