Wir sind es gewohnt, das Wort „Malerei“ mit klassischen Landschaften, unnatürlichen Stillleben, abstrakten Gefühlen des Künstlers und Porträts völlig fremder Menschen in Verbindung zu bringen. Dies ist das Gemälde, von dem uns in der Schule erzählt wurde. Die Kunst, die in einer Reihe von Museumsausstellungen ästhetisches Vergnügen und Reflexionsgründe bietet. Wir nehmen etwas Anderes wahr, um uns selbst zu verwöhnen: Es gibt keine Geschichte und akademische „Korrektheit“!
Das Malen einer modernen Berühmtheit ist auf den ersten Blick eine einfache Sache: Ihre Gesichter tauchen auf den Seiten von Modepublikationen auf, sie lächeln uns von Bildschirmen aus an, sie sind jeden Tag in Social-Media-Feeds zu finden …
Als ob sie gleich schreien würden: „Zeichne mich, mach mit mir, was du willst! Ich bin weit offen! “
Es ist banal, eine Berühmtheit zu malen, es ist besser, einen Dokumentarfilm über sie zu machen, denn hinter jeder berühmten Person steckt ein einzigartiges, interessantes Schicksal …
Stellen wir uns vor, Sie können das Leben einer berühmten Person ohne Film kennenlernen. Auch ohne Ton und Text. Ich schaue nur auf die Arbeit des Künstlers, der das Konzept der „Porträtmalerei“ geändert hat.
Jetzt haben wir nicht nur ein Gesicht vor uns, sondern was mit ihm im Laufe der Zeit passiert ist. Und auch eine geheime Bedeutung, die drängende menschliche Probleme aufdeckt.

Wir sind es gewohnt, das Wort „Malerei“ mit klassischen Landschaften, unnatürlichen Stillleben, abstrakten Gefühlen des Künstlers und Porträts völlig fremder Menschen in Verbindung zu bringen. Dies ist das Gemälde, von dem uns in der Schule erzählt wurde. Die Kunst, die in einer Reihe von Museumsausstellungen ästhetisches Vergnügen und Reflexionsgründe bietet. Wir nehmen etwas Anderes wahr, um uns selbst zu verwöhnen: Es gibt keine Geschichte und akademische „Korrektheit“!

Das Malen einer modernen Berühmtheit ist auf den ersten Blick eine einfache Sache: Ihre Gesichter tauchen auf den Seiten von Modepublikationen auf, sie lächeln uns von Bildschirmen aus an, sie sind jeden Tag in Social-Media-Feeds zu finden …
Als ob sie gleich schreien würden: „Zeichne mich, mach mit mir, was du willst! Ich bin weit offen! “
Es ist banal, eine Berühmtheit zu malen, es ist besser, einen Dokumentarfilm über sie zu machen, denn hinter jeder berühmten Person steckt ein einzigartiges, interessantes Schicksal …

Stellen wir uns vor, Sie können das Leben einer berühmten Person ohne Film kennenlernen. Auch ohne Ton und Text. Ich schaue nur auf die Arbeit des Künstlers, der das Konzept der „Porträtmalerei“ geändert hat.
Jetzt haben wir nicht nur ein Gesicht vor uns, sondern was mit ihm im Laufe der Zeit passiert ist. Und auch eine geheime Bedeutung, die drängende menschliche Probleme aufdeckt.

Hildegard Willenbring - Art critic, Berlin

„It often happens that one particular piece of art immediately draws attention to the artist. In my case it was a painting of Roman Chernego’s ‚Street Jazz‘ (2015). The painting features a street musician or, as I would call him, ‚the Harlequin of the street‘. This expressive figure with so typical for Roman’s painting style jagged forms and bright colors, which seems to open the doors to the creative forces and to the breath of life in a big city, made a deep impression on me. It was as if in this made me see and feel the refinement of the artist’s soul.

I got to know Roman personally in Berlin, during the OpenAirGallery art festival. He was standing amidst his inimitable paintings, wearing his straw hat. His exposition – extreme paintings, amazing in their simplicity of subjects with exact recognizability of characters, intertwined through intricate angles – impressed me also with a subtle sense of humour. I found myself facing a kind of a teasing observation of people, reminding us that we just have to stay human.

The cartoon set of texture in extreme formations allows the viewers an easy and amusing perception of the quirks of human behaviour. The originals are captivating through their drawing technique and the set of color spots rooted in impressionism, which can also be called the splitting of color on a plane that creates space. These subtle color rows become explicit only after careful consideration. It is this technique that adds lightness and creates the appropriate mood on the part of the the viewer as well as provides brilliance to the caricature-like images of the extreme painting of Roman Chernego.

Roman Chernego is a new name for us which makes him especially interesting as he has absolutely wonderful works. But the most important thing is that today we are witnessing one of the new directions of this style, which I would characterise as a ‚Grotesque Cubism‘ and which conceals behind the ‚lightness of the genre‘ important life problems that sometimes can and should be talked about with a smile.. The uniqueness of the works of Roman Chernego also lies in the fact that in addition to a remarkable technique, in his work there is a thought that is not so often found in contemporary art.”

Ninel Ziterova - Art critic, member of the International Union of Artists

„How does one evaluate an artist’s work?

We can find an answer to this question in the wonderful words
once uttered by Alexander Sergeyevich Pushkin: „Evaluate
an artist by the measure of their own pursuits.”

It is easy to see that Roman Chernego’s paintings are ‚of the self‘ and not derived from the works of others, neither in their subjects
nor in their formal characteristics. Many of his works are dominated
by freedom and spontaneity, a kind of uninhibited, unrestrained,
elemental, and ‚brigandish‘ principle. The grotesquerie of his decisions, the parody, the uncouth and rude nature of the images
are combined with a provocative, shocking plot. The sharply
delineated geometrical figures and planes, each of which has been
meticulously crafted in terms of texture and color, produce an
unusual expressive style in which the linear-graphic principle is
masterfully combined with the picturesque and coloristic.

The inner world of the artist is actively incorporated into the life that
surrounds him. As a result, the independent search for pure form and
speculative abstraction are alien to him. In Roman Chernego’s
painting, the plot, literary character, dramatic narrative, and
pursuit of an individually psychological portrayal of his images, all
of which are characteristic of the tradition of Russian painting, are
apparent. These manifestations are the connection to the elements and
unbridled nature of Russian life, a life that steps into its
patriarchal past with the Russian ‚folk picture‘ (Lubok) and the ‚merry‘ culture of Russian folklore, which implies a
subtext of social critique.”

Vladimir Karasev - Art critic, historian, archaeologist, Tashkent

„Сubism began as a trend in painting from the moment Pablo Picasso painted his famous ‚The Girls of Avignon‘ in 1907. In more than a century, it has acquired many different modifications and movements..

Roman Chernego is a new name for us which makes him especially interesting as he has absolutely wonderful works. But the most important thing is that today we are witnessing one of the new directions of this style, which I would characterize as a ‚Grotesque Cubism‘ and which conceals behind the ‚lightness of the genre‘ important life problems that sometimes can and should be talked about with a smile.. The uniqueness of the works of Roman Chernego also lies in the fact that in addition to a remarkable technique, in his work there is a thought that is not so often found in contemporary art.”

Hildegard Willenbring - Art critic, Berlin

„It often happens that one particular piece of art immediately draws attention to the artist. In my case it was a painting of Roman Chernego’s ‚Street Jazz‘ (2015). The painting features a street musician or, as I would call him, ‚the Harlequin of the street‘. This expressive figure with so typical for Roman’s painting style jagged forms and bright colors, which seems to open the doors to the creative forces and to the breath of life in a big city, made a deep impression on me. It was as if in this made me see and feel the refinement of the artist’s soul.

I got to know Roman personally in Berlin, during the OpenAirGallery art festival. He was standing amidst his inimitable paintings, wearing his straw hat. His exposition – extreme paintings, amazing in their simplicity of subjects with exact recognizability of characters, intertwined through intricate angles – impressed me also with a subtle sense of humour. I found myself facing a kind of a teasing observation of people, reminding us that we just have to stay human.

The cartoon set of texture in extreme formations allows the viewers an easy and amusing perception of the quirks of human behaviour. The originals are captivating through their drawing technique and the set of color spots rooted in impressionism, which can also be called the splitting of color on a plane that creates space. These subtle color rows become explicit only after careful consideration. It is this technique that adds lightness and creates the appropriate mood on the part of the the viewer as well as provides brilliance to the caricature-like images of the extreme painting of Roman Chernego.

Roman Chernego is a new name for us which makes him especially interesting as he has absolutely wonderful works. But the most important thing is that today we are witnessing one of the new directions of this style, which I would characterise as a ‚Grotesque Cubism‘ and which conceals behind the ‚lightness of the genre‘ important life problems that sometimes can and should be talked about with a smile.. The uniqueness of the works of Roman Chernego also lies in the fact that in addition to a remarkable technique, in his work there is a thought that is not so often found in contemporary art.”

Ninel Ziterova - Art critic, member of the International Union of Artists

„How does one evaluate an artist’s work?

We can find an answer to this question in the wonderful words
once uttered by Alexander Sergeyevich Pushkin: „Evaluate
an artist by the measure of their own pursuits.”

It is easy to see that Roman Chernego’s paintings are ‚of the self‘ and not derived from the works of others, neither in their subjects
nor in their formal characteristics. Many of his works are dominated
by freedom and spontaneity, a kind of uninhibited, unrestrained,
elemental, and ‚brigandish‘ principle. The grotesquerie of his decisions, the parody, the uncouth and rude nature of the images
are combined with a provocative, shocking plot. The sharply
delineated geometrical figures and planes, each of which has been
meticulously crafted in terms of texture and color, produce an
unusual expressive style in which the linear-graphic principle is
masterfully combined with the picturesque and coloristic.

The inner world of the artist is actively incorporated into the life that
surrounds him. As a result, the independent search for pure form and
speculative abstraction are alien to him. In Roman Chernego’s
painting, the plot, literary character, dramatic narrative, and
pursuit of an individually psychological portrayal of his images, all
of which are characteristic of the tradition of Russian painting, are
apparent. These manifestations are the connection to the elements and
unbridled nature of Russian life, a life that steps into its
patriarchal past with the Russian ‚folk picture‘ (Lubok) and the ‚merry‘ culture of Russian folklore, which implies a
subtext of social critique.”

Vladimir Karasev - Art critic, historian, archaeologist, Tashkent

„Сubism began as a trend in painting from the moment Pablo Picasso painted his famous ‚The Girls of Avignon‘ in 1907. In more than a century, it has acquired many different modifications and movements..

Roman Chernego is a new name for us which makes him especially interesting as he has absolutely wonderful works. But the most important thing is that today we are witnessing one of the new directions of this style, which I would characterize as a ‚Grotesque Cubism‘ and which conceals behind the ‚lightness of the genre‘ important life problems that sometimes can and should be talked about with a smile.. The uniqueness of the works of Roman Chernego also lies in the fact that in addition to a remarkable technique, in his work there is a thought that is not so often found in contemporary art.”