The hyperrealism of the artist Izvstan Betuker arises like a photograph. On canvas, he imposes his academism that seals the human representation in an emotional circuit reaching the eye of the viewer. Tarnished by color, bodies and faces seem to be moving towards an existentialist philosophy.
He brings out the glow of twilight, the intensity of black, the brilliance of each person he paints. He appropriates classic portraits that make it timeless. We must stop, take time to look at the work. The feeling is close between power and sobriety, elegance and mystery. Time is suspended.
From these moods with dark tones crossed by sudden luminous tensions, emanates the immanence of painting. Izvstan poses on the world and the beings an intimate glance. With an artistic and human maturity, his works are a plastically philosophical reflection on the position of man in the world as a subjective experience.
The works of this artist represent the ongoing investigation into the inner fragility of human existence. From photography, he explores different technical aspects and approaches to painting. From a personal point of view, he brings out a hidden feeling.
He is interested in the individual, his face and his reactions bringing together a kaleidoscope of society. He paints the lives of others. His work consists of chronicles of life showing his family, his friends, strangers in situations of everyday life. He embodies a generation that uses the portrait with a clinical look on the human race.
Izvstan Betuker makes portraits as important as portraits of landscapes as in his series « Color Fields » with an abstract line. He deconstructs the classical tradition of landscape by focusing on the instensity of couleus and the forms of a wild urban landscape.
With subtle tones, he transmits some of the emotions by the control of his brush. These personal scenes are delivered to the viewer with great affection. We imagine to accompany them.
From his sleepy portraits, « The sleepers » between life and death, Izvstan brings us back every day to our status as human beings. One penetrates a part of the unconscious or in any case an aspect of the person, without his authorization. We stay locked in front of the body. Postures ask us about the condition of these people. This relationship to death is legitimate: when it comes to painting, how to distinguish the sleeping body from the dead body? He points out the questions of the intimate, the everyday and the private. It is an intimate watch of the sleepers. We see without being seen.
The color seems free but is tamed by the intuition of the artist. His palette of colors between chaos and harmony offers a glimpse of the moment. Izvstan Betuker attacks all the images of his time. Dipped in new technologies in « Drift » where each person is « sucked » by the screen or lost in this world at full speed or in « Still life made of living things » where the inevitably quiet life of inert and dumb things, combine antagonistic notions, nature, which lives, and death; life, dynamic, and a kind of rest for eternity. It creates shifted relationships between plans, often confronted.
Izvstan Betuker leads in a maelstrom the iconography of our culture and our time. He sweeps all our references to force us to question a definitive order of our ideas and our values.