Marat Tazhibaev "Interlacing"

Marat Tazhibaev, a member of the Union of Artists and the International Association ITNET (USA), is engaged in tapestry and painting, and even makes a risky attempt to coexist these two ways of acting, placing the tapestry on a stretcher and working in the assembly technique - surrounding it with elements taken from the objective, actual the world (from coins to a pack of "Kazbek"). In the dispute between the “unconditional” materiality of objects of the real world and the materiality of the tapestry, the usual ratio of the degrees of reality changes. Assemblage is sometimes present in Marat's clean tapestries: there he first of all sharpens the perception of the material itself and its qualities.

The combination of tapestry and painting is difficult to imagine for the reason that they are organisms growing in completely different ways. Moving from one technique to another requires a radical restructuring of the way we operate. From the logic of the order of action prevailing in the tapestry, it is necessary to move to the logic of space, the field of action: the tapestry materializes in threads, and the color, thus, receives weight, volume, duration. He disciplines colored threads and, as it were, distills their color quality, exudes the aroma of color relations in its pure form, creating a warm weightlessness. Paint as a material behaves in a completely different way. It is realized precisely on the plane, being embodied through a specific movement of the hand. And if in a tapestry the picture is completely constructed in the mind of the artist in advance, even before the start of the process, then the painter's drawing is born by an attentive feeling of the plane, unpredictability and the risk of touching, the transformation of paint into color.

An important property of the paintings of Marat Tazhibaev, who was recently awarded the gratitude of the Committee on Culture, as well as a number of diplomas and awards, is that he has almost embarrassment in front of the plane in all its materiality (whether canvas or cardboard), he does not want to completely hide the original surface properties with paint. Already this attitude to the material, this productive uncertainty protects Marat from illusionism and endows him with a special sense of tact.