Kudryashov’s work is technically extremely various. He moves from elegant miniatures to large-scale graphic triptychs and polyptychs, from drypoint etchings to paper reliefs, from these to metal structures and from grotesque figurative work to abstraction. But, unlike the Russian Constructivists, his abstract work is not an experiment with form and neither is it a projection of subconscious impulses, as with Jackson Pollock and Tachisme. It is the crystallisation of his visual representation of our real surroundings, that is to say reality in a condensed and concentrated form.
Hardly anyone from the third wave of Russian émigré artists enjoys such a high reputation in the West as Oleg Kudryashov. His work has a place in the world’s great collections—in the National Gallery of Art in Washington, in the Museum Boijmans Van Beuningen in Rotterdam, in the National Gallery of Art in Dresden and other famous artistic centres in Europe and America, not to mention Russia.
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