PRAGMATIKA.MEDIA: Your creativity is called energetic, joyful, positive. Can these epithets be used to describe Peter Lebedynts himself?
Peter Lebedynets: I think yes. I adhere to the position that only positive emotions should be invested in art. Although contemporary art is often oriented towards destruction. But I adhere to a purely aesthetic program.
R.M.: Isn't destruction interesting to you even in the works of other artists?
P. L.: No, I'm interested in watching, but this position of disharmony doesn't suit me, it's not close to me.
Exhibition of Pyotr Lebedynts "Illusions" in the Central Museum of Art. Photo: Igor Okunevsky
R.M.: You received an academic education, you started as a figurative artist. How did you come to abstraction?
P. L.: In the mid-80s, I decided to switch to some new plastic language, experimented and came to abstract painting. It seems to me that for me there are immense possibilities in terms of color, plastics, composition.
R.M.: Could you make another transition to some other style?
P. L.: I am slowly changing, but within the limits of my style, I am changing some positions related to color, for example. I have another exhibition going on at the same time - there is a full-color painting. For this exhibition ["Illusions" in Central Shopping Center] I specially made a series of works in a more monochrome range. But in principle, painting principles are still the same and the same aesthetic program.
Peter Lebedynets. Photo: Igor Okunevsky
R.M.: It is interesting how the creative process takes place. Emotions, events - what gives you ideas for paintings?
P. L.: Anything. This is travel, experienced emotions. It is most difficult to explain how ideas arise and how they are then implemented. This is a single process - when an idea is born and turns into implementation.
R.M.: In abstract painting, what comes first – content or form? When you have an idea, do you see the finished canvas, how it will be, or the emotions you want to convey?
P. L.: Conventionally speaking, painting has two components. The first is the intellectual side, that is, you need to accurately calculate everything, build according to the composition, according to the color plasticity. And the second side is emotional. Painting without an emotional component is lifeless.
Exhibition of Pyotr Lebedynts "Illusions" in the Central Museum of Art. Photo: Igor Okunevsky
R.M.: How do you relate to the question from the series "A chto vy etym hoteli kazat"?
P. L.: I am constantly asked such a question. The artist, as a rule, must refer to the work itself. I always say: "Here, please look."
R.M.: What if the public's interpretation is radically different from yours?
P. L.: This is absolutely acceptable. Abstract painting gives every person the opportunity to see something of his own. If they see something that I didn't put in at all, I'll even be interested in hearing it. When they see something different in my works, I have some new ideas. In addition, it is always useful to listen to some constructive criticism. An outside view is always very interesting.
Exhibition of Pyotr Lebedynts "Illusions" in the Central Museum of Art
R.M.: Are politics, social processes and art related or not?
P. L.: There is social art. But I separate my work from social work.
R.M.: But you, as a human being, live in society.
P. L.: Yes, I live in society, I cannot avoid any social issues and problems. But when you start working, you have to abstract from all this. Just me, canvas and paints. (Smiles)
R.M.: And political events also have no effect on your work?
P. L.: I try not to let them affect each other.
Peter Lebedynets. Photo: Igor Okunevsky
R.M.: Do you believe in the "nationality" of art? Does Ukrainian art exist?
P. L.: Still, I believe that art should be international. But there are some folk elements, Ukrainian ethnographic motifs that are reflected in modern art.
R.M.: Would you call yourself a Ukrainian artist?
P. L.: It's hard to say. I relate myself more precisely to international art.
Exhibition of Pyotr Lebedynts "Illusions" in the Central Museum of Art
R.M.: It is interesting to learn about your childhood. Where were you born?
P. L.: I was born in Melitopol. This is a small city. From the age of 12, I studied there in the art studio. There was a serious study. Then the Kyiv State Art Institute. After the institute, I already started experiments in another direction.
R.M.: Do you remember how you decided to become an artist?
P. L.: I have been doing this since childhood, and since childhood I only wanted to be an artist.
R.M.: You didn't see any alternative for yourself?
P. L.: No, I didn't see it. (Laughs)
Exhibition of Pyotr Lebedynts "Illusions" in the Central Museum of Art. Photo: Igor Okunevsky
R.M.: I read that when I was a student, I worked in the fire brigade. Tell me about it.
P. L.: It was necessary to earn some money. At night he worked in the fire department on the road, and during the day he studied at the institute.
R.M.: Have you had any unusual works for an artist?
P. L.: As a rule, in Soviet times, most artists were also engaged in design work. I had to earn money somehow.
R.M.: And a related question: do you believe that an artist should be hungry?
P. L.: No, this is such a myth. An artist must be successful. And when he has the means, he has the opportunity to work normally, think normally, implement some of his ideas.
R.M.: On the contrary, can "overeating" somehow negatively affect creativity?
P. L.: It depends on the person. I think that everyone will somehow cope with this "problem". (Laughs)
Exhibition of Pyotr Lebedynts "Illusions" in the Central Museum of Art
R.M.: And finally: if the end of the world were to come tomorrow, but you were given the opportunity to save any one work of art, what would it be?
P. L.: Somehow he never thought about it, because so much of everything in the world was created by human genius. It is impossible to single out something. I would save everything.
R.M.: And which of your paintings would you save? What is most dear to you?
P. L.: It will not be possible to choose one out of a thousand works. There is no picture that I hate, I work on every picture. Therefore, I would probably rather save someone's life. (Smiling)
