Let’s analyze more in details what I mean, speaking about the space in a piece of work and spatial delimitation in a piece of work.

Let us take, for example, a canvas with a drawing in a strip of board. It is evident to any observer that here is a canvas in front and limits of the drawing are where the strip of board begins and ends.

Question «WHY?» arises. Why is the picture limit there? One more important question arises: Is the canvas included into the artist’s piece of work? They say, of course, it is included. But why? Or, for example, are the artist’s feelings included into the piece of work or not? (I will tell you about is separately).

Thinking and asking these questions, I came to the opinion, that the specific frames had effect in the art due to the fact, that the drawing is what is painted on the canvas, the sculpture is what may be seen by the eye. So, it goes without saying in such a way. So, it always has been from century to century. Artists are thinking in the same way when they make their pieces of work. Observers percept either. But it’s a stereotype.

New vision allows for usage of all and everyone in pieces of work, it is not necessarily staying the object or its part in the room. Time, taste, odor, nearly anything may become part of the piece of work. Just 5x5x5-cm air rectangle in your flat. Future belongs to the pieces of work knowing no space limits, where it is the painter who decides, what is included in his piece of work, but not the standards in the head.


“Space No.1” is justly considered the starting point of new understanding in art. The same as Malevich’s Black Square has become the starting point.

The piece of work is 13-cm long 13-cm high 7-cm wide air cube. It is impossible to see the piece of work, but it starts at 1-cm above the description.

cubeObservers of course may be at a loss, how can it be a piece of work if it is not seen, it cannot be touched, heard, etc.?!

There is a rather clear answer to this question.

Firstly: this piece of work does not anyhow differ from, for example, the wooden rectangle of the similar size. But for some reason I am more than sure, that many people would agree that a piece of wood may be a piece of art and not seen piece – unlikely. But wait, please, an air cube with respect to physics and chemistry, is filled with nitrogen, oxygen, carbon dioxide, etc., molecules. Hence, there is no actual difference between the wood and the cube, except for the visual one.

But «visual ability» is a habit we require from the art. But it may prevent seeing the depth. To feel not mentally, but deeper, with your soul.

When a person thinks that a space cube exits, yes, he cannot see it. But if human consciousness has already shaped a cube, hence, it exists and it means that a person has seen it!

It may difficult for understanding, the brain wants to see the art it used to. Switch off your brain, try to feel!


Now let us speak what it means that an artist and only the artist may outline where his piece of work starts and where it ends. As I have already told, some habitat to percept pieces of work have been developed due to many-year experience.

Let us discuss in details the finished drawing on the canvas. As appropriate, everything we see, all paints, primer and linen canvas itself – is a piece of art. It is as a default. Consequently, if I would take a canvas of a specific size, hence, upon completion the painted drawing has similar sizes.

A now let us try completely new vision and understanding. Let us take the same canvas and highlight 2 figures – shapes.  And let us decide that each of them is an independent piece of art! May we do like this? Of course! The artist has the right to outline the limit. Must the artist separate these pieces of work from the entire Canvas? No.


In real life, these pieces of work exist and are called «Object No.1» and «Object No.2».

But there is more to come. We have just a limit. And what is included in the first object and in the second object?

Piece of work number “one” includes only the paint layer, it excludes the canvas below. And piece of work “number two” includes both a canvas and a space at 1-cm-distance from the canvas on the inside and outside sides.



Let us discuss one more piece of work. It is called “Absolute Understanding of the Street Art in Gallery Space”

Here is the model of the piece of work:


In fact, it is a maze. Entering the exhibition hall, a person starts to walk through it. After the person has passed the hall, he goes out into the street in theory (if impracticable, into the adjacent hall/cloak room, etc.). He saw nothing but white walls. It is critical, that the person knew before that he has come to see street art in the gallery. Then not at once but very quickly everything will click into place. There is no street art in the gallery! It even could not be, street art is in the street! Now the person has complete understanding. Of course, it is great, if the person go exactly out into the street at the end of the maze. And somebody or something (for example, inscription) let him see that to see the street Art you should go the street, but not to the gallery.

Now let us change over from the idea to mechanics. If to describe components of the piece of work classically, then one may say that there is the maze with white walls and there is the piece of work.

But possessing the new knowledge and concepts on the artist’s capabilities to use the space in his own purposes, it is getting immediately clear, that not the maze facilitated person to acquire new knowledge. What then? Firstly, it was the maze emptiness. Not its frame and walls, but empty space – this the critical difference. This empty space has a sense in the piece of work, not the frame, it just helps to shape the “empty space”.

(I strope empty, as far as it is not empty, of course, but as part of the piece of work we require empty space, where there is nothing visual, gaseous compounds of no importance for us).

Secondly, the modern human has images of street drawings, it has met them anyhow. And exactly pieces of art in his memory is the component. When he did not see them in the gallery, but knowing what the exhibition is, his consciousness addresses to already existing information. May be the person reminds the previous exhibition where he saw street art in the gallery. But for understand this piece of work – it is the unwanted information. That is why, I limit what shall be included into this any piece of work on purpose for its proper understanding and better perception.

We concluded that the above piece of work consisted of 1. Empty maze space and 2. Entire previous personal experience of meeting the street art in the street.

Say yes, these components show and emphasize the essence of the piece of work and show the observer the direction.

It may seem that on the contrary, everything is simplified and the Art is becoming primitive. No. It is a step towards the content and shaping the feeling allowing for entering completely new level of knowledge and interaction of an artist and an observer. At first it may seem that some mystery of pieces of art would go away, but, please, believe, more mysteries will appear!

As we go forward from the standard principles, we get more unknown!