Slava’s works have one peculiarity encountered among photographers not so often: the spaces he creates are connected more with his thoughts, conclusions; they are the result of his observations, and not the process of studying the object. And that is why theater organically presents in his creative laboratory. People and things play in this theatre. He creates metaphors one by one, then formally combining them into a series or a project. In the series “box” we see still lifes replacing each other. It’s a set of phobias, a set of thought forms. The scenography of the artist and the disputes of the illuminator and the light artist are completed by the fine work of the photographer – focus-non-focus, and the printer, using the possibilities of paper and film. With all the emotionality of the final print we can observe an extraordinary organization and rational sequence of the author. Everything is verified, all stages of work are subordinated to his concept, his idea. And this feature is visible even in the works where an object or light can’t be controlled; they can be just “properly shoot”. I’m talking about the landscapes of Lake Baikal. Consciously or not, but Vyacheslav created the image of the unique purity of the lake without shooting the cracks in the ice or the extraordinary transparency of the water. In his landscapes of Lake Baikal its purity is expressed by the rigor of forms and the subordination to different coloristic states.
And if on some photos from this series we see inclusions they are perceived as “garbage”. And again, this is about the pollution, but not directly, without dumping cans and bottles in the frame. And this series of color works is completely different from the series “box”. Vyacheslav Kabanov works subordinating all visual possibilities to his idea. And here his directing is, of course, project-based. The author for me in this sense is a modern artist, contemporary artist.
Curator Oleg Arnautov