leads to their solution, as well as the fact that his artistic work gives a true answer to
the question asked by nature" [8, p. 87].
The experience of the artist, his knowledge of the nature of things becomes
decisive in the process of shaping. In subject representations, Mykhailo Selezinka
reproduces visual perceptions, spiritual experience, and violates a number of creative
tasks, coordinated with those that were solved by modernists at the beginning of the
twentieth century. In particular, Vasyl Kandinskiy interpreted the process of
materialization of spiritual values as follows: "When conditions for the ripening of a
precise form are created, then internal excitement receives the power to create new
spiritual values which, subsequently, deliberately or intuitively get a propagation. From
this moment, consciously or intuitively, a person tries to give value to the material form
"[6, p. 264].
In the creative work of Mykhailo Selezinka there are many sketches, paintings,
made with the direct sense of the natural form, its inner meaning. Among the works of
Mykhailo Selezinka there are many sketches, paintings, made with the direct sense of
the natural form, its inner meaning. Vyacheslav Ivanov noted in the one of his studying
of the form that "Having reproduced his vision, the artist did not claim his real
objectivity at all, but if such a vision was not significant, so if it had not been a sign of
real otherness, it would not be so informative and effective "[9, p. 277]. Such works as
self-sufficient creations of art with their pictorial value exist independently or in the
process of transformation, transformed into well-considered graphic or pictorial
compositions. These latter ones become the basis for further abstraction of forms and
the creation of objectivity for a new quality. On this occasion Werner Hoffman said
the following… artistic practice knows many stages of the transition between the need
for imitation and the need for abstraction. To understand this, we must recall again the
fact that new creative intentions during their incubation period may be satisfied with
the already existing content and formalities: before they come to form-building, they
will direct all their forces to rethink the contexts and forms that already exist "[10, p.
96]. This opinion was also followed by the German philosopher Conrad Fiedler, who
confirmed that the process of form-creating involves expanding the experience, but its
originality is not in imitation, it is in creation [11; 12, p. 41].
An important role in the search for the form is played by the inner sense of
Mykhailo Selezinka, his ability to abstract thinking, in which he confesses. If you look
back at artist's creative experiments by 2015, then you can see their organic connection
with the original natural form. The search for new expressive opportunities does not
lead to a complete "dematerialization" of an object or phenomenon. The form is mostly
accepted at the level of abstract spots, if necessary, it is developed and detailed inside,
that makes the sensory visualization of the original image strengthened. It is worth
mentioning Vasyl Kandinsky's thoughts about approving the artistic form of Franz
- 973 -