As a rule, we throw out the used packaging foam plastic into the trash, yet its favorable technical properties, such as lightness, pliability, watertightness, have generated positive interest in using it in the project. Due to the block configuration of one-time usability, the foam plastic bears the imprint of the other things design as a model of impeccable aesthetics of exact proportions that soothsays the backside profile of the foam by an abstract revelation of the intervention of uncluttered forms.

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This project alludes to the bygones of the past, outside the ideology of the portrayed similarity, outside the circumstances of social tension, outside is the subordination of social status, but only in a vague impulse to behold an emanation of the last century in its selectness, to capture the stay of the individual who has already quit the world in the atmosphere of the passed. Who and what he was once:  worker, intellectual, commissar, basmach, communist, etc.  does not matter, because  canvasses in the silk-screen technique are, according to Fergana culturologist Alexander Ivanovich Kuprin, a testifying fact of the art itself in its providential substance when the native is higher than the true and just, by transfer of the image to the publicity, so that it could become, for at least someone, a part of time regained. As Rilke said, "once means now". The project "The sepia of non-mention" as an object of exposition in the exhibition hall establishes a kind of a script of photographic anonymity of authorship in the gap between the historical and mythological existence. It is almost a humble will of supreme powers to slightly open to us the fleetingness of the last perception of the world in the point of what it once was with you in the body of the father, mother, close friends and relatives. In addition, black and white fluids in the screen visibility of sheets are in the renovated print in the elusive intention of contemporary art to assign a certain place of fixedness, where a mark of the instantaneous becomes a message of possible.

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Artist: Vyacheslav (Yura) Useinov.

The idea is to initiate in the internal environment of artistic habitation a reflection on the "glacial period of consciousness". To break the habitual course of everyday things, ignoring the current idea of ​​the swastika as a negative symbol and giving the sign its original meaning, namely through the demonstration of the silk mandala in the technique of chia in the cavity of the art space. Narrative of the attempt on the Buddhist symbol through skeletal models of dinosaurs, through their plastic configuration of frozen intentions. This project is in the imperative of both Western and Eastern history. Creating choreography of outdoor space on the principle of "shuidao": action without action - to some extent the object approximates the language reading, in the body of which the conceptual beating connects the past and the present in its conflict point. Two-meter size of dinosaurs all its kind gives out human habits or vice versa, perhaps a man gives out the habits of extinct dinosaurs. "Theft of the swastika" is a moment of one interpretation warning about possible consequences, as it was already with fascist Germany, etc.

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Author: Vyacheslav (Yura) Useinov
Co-author: Alexander Mikhailov

This installation project is realized as the object of a gold pantheon, which is based on the history of the alleged fact described in Miroslava Stingl's book The Mystery of the Pyramids. In the 18th century in Peru, during the conquistadors, Colonel Laros found a treasure with golden butterflies, they were of amazing beauty and possessed aerodynamic properties. Each butterfly was not heavier than one gram. Colonel Laros melted all the butterflies into gold bars, leaving none of them. This historical evidence is very similar to the myth, actualizes the moral problems of human values ​​already in our modern world.

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Vyacheslav Useinov was born in Fergana (Uzbekistan) in 1962. In 1985 he graduated from Bobruisk College of Fine Arts. He participated in regional, uthudlican, fll union international exhibitions.

Works are held in State museum of Arts of Uzbekistan, Art museums of Fergana, Samarkand, in collection of World Bank (Washington), in private collections in USA, France, Italy, Japan, Australia, Israel, Russia.