Despite the apparent chaos, meaninglessness, enthropy and carelessness Misha Lepyatskij's (Buryj) works are extremely adjusted, harmonious and complete. But it is not that cold final completeness, which is akin to death, but rather a sense of continuous and uninterrupted process of putting together, accumulation, sticking all over of all these taken separately worthless and helpless elements: patches of color, lines - twigs, clews, splashes, dashes, lints and points. Misha is like a beaver or bird: on each sheet of paper, on each object - from a matchbox to a large-format canvases - he sculpts, winds, gnaws and creates his nest. Misha's works - either they are made spontaneously, literally at the knees, or long-term and profound works made on large sheets of vinyl or canvas boards - are all parts of the same practice of settling, grooming or vice versa tattering the reality. It is even strange that this man sometimes has his hair cut, drives a car, works in a serious state company, raises a daughter and actually walks on two legs. The ability to combine these two extremes simultaneously strikes, amuses and inspires those people who know Misha in private.

In general, it seems to be useless to describe Buryj's art by using a strict, clear and more or less literate language. The only text that could be adequate to his works would be the text created by the letters from printing proofs were suddenly poured and mixed oddly. And this text may not happen on purpose. Everyone should see Misha's art, or how he sometimes calls it "zyaka- buzyaka", live and not try to understand, structure and somehow evaluate it.


Шмхшазнвзгахгп К.К. august 2016