The aesthetes, morons and artists don’t like what Alexander Semushin is doing now. The aesthetes find him rough. It is clear that the adsence of the small pieces of luck imitates a subtle taste of a connoisseur of art. The morons instead of the traditional "daub", characterize his work as a perversion. It appears to be a graduation: the morons with the higher education call it cheap perversion.
The artists on their turn see something outrageous in all this. But as for Semushin, it seems to him that a real art can't stand still. He believes naively, that the movement and the search for unknown is one of his main aims. Let us forgive him that sin. In our sick society, with a lot of comlexes, some rumors are afloat, they say that the art has never stood still. There are always people who rummage in detail of the exhaust materials and those, who plunge into unknown, it was usual to laugh at them before, the more so, as they gave the chances themselves. You know, one eccentric man even cit his ear. What the dickens! Another time has come. Gentlmen, you are not to rack the brains of the serious publick - everything has passed away. Now, if you have a good taste and a sense of color and something else like thaht, try to please us with something familiar.
So the life passes. One of such lives was passing in Togliatty, where Semushin turnes out to stay after the art college. He tried himself in different spheres: industrial drawing, advertising, scenography, design and so on. Then after all he gave it up for the sake of painting. He work hard, turned from one style to atother. He was especially carried away by the expressionism. But sonn he found himself at a deadlock - the perspective to become a good stylist could's satisfy him, on the other hand the search for the new threatened to be endless. So the chance helped. Semushin's son fell ill-high temperature, delirium. So in that condition the son began to see visions-somewhat like transparent spheres and pyramids. To help him get rid of these visions, Alexander began to draw them. But the son, looking at them, repeated all the time that outside they were similar, but inside there was something different. The crisis lasted there days and all the time his father spent near his son, suffering and trying to understand what this inside was.
Later, when he began to work he found out that his dight had changed. Son his style changed too. The outer form of the things began to disssolve, baring the essence of all that he painted: people, things, occurrences. He brought his first sketches to his friends in Moscow. They nearly were taken aback. They decided to show these works in the gallery, among them were: George, Transformation, The Kiss. The works were bought right away, and Semushin was offered to co-operate. Two years have passed since then. His works are sold now without any difficulties and cost a lot, as if he is a well-known master, but there isn't anything to be known for certain. Nobody can define the style of the artist. His friends call it transformism of the shape of the thing under the influence of the essence. For example his canvas The Kiss - there are some changes, which take plase inside both man and woman at that moment, and on the canvas they are brightly determined by the artist. It is hard to say exactly whether we can talk abouth a new style or not and will the name of it survive. Much depends on the ability of the society to accept the new.