Leon Bugaev is an avant-garde artist, director. Develops such directions as: The object portrait* and The kinetic scene*.
In 2007 relying on intuition and imagination, he plunges into a world of experimentation. Working with light, shadow and movement in a shot, the author creates his first photograph “Chess” and at the start of Summer in that same year produces and unusual “The Object Portrait”. These works very much predetermined the artist’s future direction.
He constructs his reality from a paradoxical combination of objects, and black-and-white color treatment lends it the vividness of a dream. A character in a formal suit grins impishly out of the picture; in place of his face is the carcass of a turkey, but the observer instinctively makes out human features in the shape. In his works, Bugaev often uses images of objects frozen in midair. This approach automatically prepares onlookers to accept irrational information, and simultaneously establishes action far beyond the limits of the illustration. A dark, blurred figure moves sharply, while its head hangs in the foreground and stares at the viewer. The static perspective on the motion is intriguing. The onlooker himself begins to fill in the details of the subject, the quiescent episode the photograph suggests.
* The object portrait, which is a scene where the character's face is shielded by an object, for example, a globe, a pair of boots, a briefcase, or a balloon. The object is the central part of the image and may serve as an illustration of “difsymbols” *.
* Difsymbols (different symbols) are dynamic symbols having no exact identification – like, for example, in an allegorical still life where a globe typically symbolizes the Earth or starry skies. The idea of the symbol in the object portrait rests on the fantasy motion, therefore dyfsymbols are multifaceted and unrestricted, and the combinations of generated meanings have no boundaries - a unit (man) is multiplied by infinity (difsymbols).
* The kinetic scene is an image with a moving object (objects). As a rule, motion in the frame creates dynamics and blurs forms - the details of the object are beyond clear definition. Objects may be present in the scene but, unlike the main object, they are still and well detailed. This creates the contrast between space (fixed objects) and time (objects in motion).
To see the alternative image, one needs to go farther, through the curtain of sensory perception...