In various plastic strategies Alex Goncharenko refers to civilization cultural memory, to its origins, beginnings, when geometrical images have been determined the place of our planet in the cosmological picture of the world.
In his works the artist reminds us that in all ancient cultures Earth was designated by the square, by its organic substance, manifested through numerical harmony.
This symbol, which became the basis of Alex Goncharenko visual philosophy, still doesn’t lose its fundamental and universal qualities, it connects achievements of nanotechnologies their basic and universal qualities that bind achievements of nanotechnology, “sticking” any substance with profound scientific research.

In Alex Goncharenko artworks the image of the square in all kind of its “performing” deconstructions turns into a model, a toolbox, a special genetic code that connects artistic practice, technology and the ultimate creative phenomenon.
The artist observes it as a living organism, as a specimen, as a mediator, and the agent of contemporary artistic consideration.

Alex Goncharenko’s multidimensional structures are developed on self-similarity principle, forming a continuous process, something similar to the crystal expansion. In this technology, the phenomenality of fractal geometry is evidently revealed.
The cells of the fractal strategy, considered as infinitely fractional units, form a bunch of amazing properties. Randomly, they simulate complex “non-linear” systems, moving closer to developing dynamic forms of our civilization – from locomotive to aircraft, from Platonic structures to ready-made elements of pop culture. Their images become denser, they are moving obliquely, changing their levels, or passing to rarefaction, varying not only in their scales, but also in their optics, never losing their harmonic coordinate system.
In this position, the artist is experiencing the drama of continuous evolution, the mobility, which, in fact is not a subject to traditional methods. By varying the configuration of his structures, Alex Goncharenko proceeds from mathematical practices, from “the route” of the creative process itself, constantly remaining in the carry-over phase, the phase of the future.

Each composition of Alex Goncharenko naturally multiplies as an creature, as a combinatorial cell, breaking the discrete, self-sufficiency; it commands to the artist the use of color, rhythm, size, intervals, pause, duration, revealing the wave dynamic states of the artifact.
Its total mass is getting lighter, gravity decreases, and the detected energy, amplifying diagonal vectors, flashes into space. “Wave” phenomenon in the plastic of Alex Goncharenko focuses on all transformations of the form and its evolutionary qualities. All kinds of shear, axial displacements, change into the 3D, color collapsing transform its images into a structure, into a paradoxical object, and in the same time giving to it a postmodern redundancy or, on the contrary, a new concise and classicality pure configuration.
In these cases, the artifacts of Alex Goncharenko begin to border the realities of pop art, while accentuating its “aristocratic” modernist context associated with El Lisitsky’s Prouns and K. Malevich’s Suprematism, having something in common with Frank Stella’s works.The artist naturally immerses himself into archaic forms of creative consciousness, in order to come back to intellectual structures again, highlighting the textual imagery of his own geometry.
Its meanings flicker like on a computer screen, allowing a plastic unit to turn into a letter, and to create words and phrases out of the sequence of plastic elements. This process generates new possibilities for the search of reflective languages, when the imagery is structured from individual puzzles, returning to the actual culture of the wisdom of children games, and reading it as the new script, allowing to connect an ordinary everyday life, its massive routine with sacrality of sign systems.
This text is acquired paradox of semantic and ecological unity of all living and nonliving, where the design philosophy reveals its original projective qualities, reminding that man is the measure of everything, and the term “art” in Greek was designated by a word “techne”.

VITALY PATSYUKOV (1939-2021)
an Art Critic, curator, and corresponding member of the Russian Academy of arts, 2018