The works of his current series PROTOTYPES/BIOSYNTHETIC may well be coined "experimental hybrids". The lightboxes used combine object art and 3D-photography. They display single sculptural forms either created by the artist or "produced" by bees.
All works display an almost sensual surface texture and yet simultaneously
appear disembodied being placed in a space devoid of any dimensions, a space generated by lenticular technique.
The printing technique is based on miniature stereoscopic lenses or prisms designed to create the impression
of spatial dimensionality.
These floating objects or “Prototypes” refer to the constructivist principles and "Projects of new Art" (prouns) developed by the suprematist and architect El Lissitzky. With his work Lissiztky claimed a change of art's status and developed "Prouns" inspired by the cubist critique on perspective. Constellations of space perceived as "Nicht- Gemälde" (Eskartinas) suspend the logic of statics altogether opening up a space where perceptions are free floating and pure sensations (Lebensfilm 1890-1941).
Andrej Loginov reacts to this impulse. His essential inspiration derives from electronic music. Its immediate impact resonates from acustic waves creating a flow of pure sensations unimpeded by thought. Gilles Deleuze und Félix Guattari showed the essential components constituting "percpets and affects" ((1991)1996, p.191).
Historically movement and energy are the very parameters conncected by sculpture and photography. Early photography displayed the forces later embodied in sculptures. Modern sculpture again is displayed in works of Umberto Boccioni, Raymond Duchamp- Villon und Marcel Duchamp.
They were alle equally inspired by movement studies by Étienne-Jules Mary und Eadward J. Muybridge. Inspired by the ascent of moving pictures in cinematography their figures served to highlight the flow of energies and transformations of reality in the process of continuous exchange. Futurists proclaimed aim was to energise a body with the forces of the environment thereby transmitting the energies via the moving image onto the viewer (Rübel, 2014, p. 113).
Loginov combines sculpture and photography creating a new dimension of "photogenetic sculpture" transgressing dimensions of material, movement and sensuality as he tranlates the dimensions of material, movement and perception into the state of transition, a states escaping a clear definition.
Dr. Heike Fuhlbrügge