Gallery A3 Moscow

Artwork Sixes





The art of Gail Sagman is full of a deep ecological spirit. It recognise neither the border between ‘genres’ nor any limitation of materials. Following Anna Akhmatova, this artist could say,”If only you knew out of what rubbish poems grow, recognising no barriers….”.I watched the creation of her installation at Krescice near Prague, at the international symposium of Sculptors and Artists in July of this year. In her hands the synthetic fibreglass was transformed in to a little grove with living shadows, greenery and light. A roll of course paper like a “frottage” soaked up the natural light of the bank of the trees and was covered with the soot of wood charcoal. Maybe art was born in this manner millions of years ago, remaining in contact with nature and with human existence-in direct contact with the cosmos.

The art of Gail Sagman is universal and responsive. Gail’s Russian roots are hidden in this responsiveness. The artist’s openness becomes her artistic principle, her poetic theory. It is no accident that thinking about Kazimir Malevich’s “Black Square”, she views it in a historical setting-as simultaneously a beginning and an end, where the openness of the system assets its universality.

In her art Gail mixes various styles and methods, translates from one language to another, crosses images and conceptions from various periods and systems learning meta-language, pushing to one side its universal application. In her view, universalism is the fullness of the communication of mankind with itself, which has recognised itself as the sole cultural creator in the universe. Gail Sagman’s universalism is not just the mixing or intellectual combination of various languages, not a cultural Esperanto:it is a momentary illumination, revealing in the depths of humanity it’s integral, indivisible ‘I’.

Vitaly Patsyukov.