Genesis of the artistic form. Mykhailo Selezinka actively seeks out his own form
of artistic expression, the coherent challenges of time and trends in the development of
the modern artistic process in the spiritual-ideological and artistic practices of the era.
The problem of form as a self-sufficient content became apparent in the early
twentieth century in the creative experiments of K. Malevich, V. Kandinsky, M.
Boychuk, O. Arhypenko. The effective use of innovative technical potential in artistic
practice of the XXI century actualized this problem again. Modern technologies have
become a new means of artistic expression, visually expanding the boundaries of the
existence of a creative work. The correspondence of the artistic form to spatial-
temporal characteristics was mentioned at the beginning of the twentieth century in the
theoretical studies of Vasyl Kandinsky. In his work "On the question of form," he
noted: "The form is always conditioned to time and is nothing more than a necessary
way for the disclosure of the present revelation" [6, p. 265].
Operating with philosophical categories and their mythical and poetic
reincarnation, Mykhailo Selezinka reveals the finest nuances of perception and
experience of the artistic form. As the artist points out, his research is set to search for
the "inner world" and "external form".
As the art history practice of the early twentieth century shows, this problem was
risen by Vasyl Kandinsky, who considered the form as "an external expression of
internal content" [6, p. 24]. A representative of the formal direction in art Henry
Wolfflin concretized and continued: "The inner and outer form are always connected
with each other, the question is, what should be this connection. The point is that not
only the external, but also the internal form is meaningful, the previous form not only
illuminates the external content, but also has an internal spiritual meaning" [7, p. 10-
11].
The external form becomes a kind of reflection of the spiritual activity of the artist.
Creating a form, Mykhailo Selezinka simultaneously relays a certain spiritual message
and his creative energy, his own spiritual affection, obtained as a result of the active
exploration and development of the natural world. German sculptor and art theorist
Adolf von Hildebrand wrote about such feature of the form at the beginning of the
twentieth century: "Spiritual content is not introduced by the subject in the work, but
appears as a result of visual reproduction of the internal laws of the natural form" [8,
p. 64].
Mykhailo Selezinka explains the process of creative act as: "The sketch is a
method of improvisation, based on abstract thinking and knowledge of nature." In his
creative method, the artist does not neglect the objective reality, which he learns in the
subject connections. According to Adolf von Hildebrand: "An artistically gifted
individual is noted precisely because he feels the problems laid down in the thing and
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