Painter's Credo

There wasn’t much left, but Utopian-ism to which, the artist has been entirety faithful until today

Time traveling

Discovering exuberance in strong affection for the world beyond borders

Creative autonomy

Through pictures in mixed media, he was gradually constructing his plan of redemption

vignette-wolfPAINTER’S CREDO

Time traveling from Mixed Times to Mixed Media

The space and time in which  Rubins began to create his own narratives in pictures reaches far back in time, living only as a blurred memory. Periods of incomprehensible fears, brave ideas, followed by non grounded idealism, which was often blocked by society that feeds on Totalitarianism. Rubins spent his childhood in an Utopian system of the Slavic nations, that after decades of totalitarian regime did not survive the spirit of time. Latently protected from the possibility of evolutionary process, which results in the personal development of altruistic values, he lived each day, as it offered by itself. Soon he discovered his first great salvation. Strong affection for the world beyond the boundaries of known and safe.

Tractate on the Ordinary Man – Part II.

The source of imagination was coming from a New world, which was gradually rising. Living directly on the border between two different ideologies, he was recognizing, the strengths and weaknesses of his own regime. Slavic regime was… red and the west was … a rainbow. The vague life at the border of New world, was a continuous risk and tension. The ideology of Slavic regime, during Rubins’ vital youth, has permanently marked his character to a large extent. Despite of creative enthusiasm, he has suffered – as a featured individualist in collective, mass hysteria values. He was Incomprehensible – as an Utopian, nurturing thoughts on, not yet discovered horizons. He was Melancholic – with the idea of otherness marked on his forehead, later almost in masochistic pose, bowing down to mighty leaders, whose false creation was adored, while at the same time, as ordinary man, nurtured a covert cynicism,  to all different perceptions.

Unfortunately, idleness had left deep marks on his creations, pretending that Rubins was well paid and rewarded. Through pictures in mixed media, he was gradually constructing his courageous scenario of redemption.  Living in the “Go West” syndrome for twenty years, he has been experiencing triviality of that period directly and forcefully. The necessity to decide between love and hatred, desire and envy. The ambitions of the Slavic regimes eventually began to collapse and fall to fragments. Through the chaos of values and nonsense of everything, that had been done and believed into, until then, the ideologies and their creators once again amended to bitter memories, only ideologically renewed, the masses took refuge to the nearest solution, whose offer was illusory in the prosaic content of new security. His nation found their shelter among them, who they despised in the past, so conceitedly. There wasn’t much left, but Utopian-ism to which, the artist has been entirety faithful, until today.

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