The void is in fact merely the mode of "looking" cleansed of any reflection. The human gaze from the very outset apprehends the material world in a mediated fashion — in the process of perception, images are generated exclusively by our imagination. The initial "bias" of consciousness, the combination of various levels of direct experience, distort our ability to perceive, that’s why the authentic nature of things can only be revealed through the detachment from the object that is being observed.
In his project Mist. Halt, Nikolai Onishchenko continues to study the delusiveness of reality, tackling the theme of space in its absolute dimension. In his video, deserted squares, courtyards and underground car parks are transformed into transit zones within the city environment, presenting a metaphor for stoppage, a temporal interruption in the normal course of events, and an opportunity to identify and capture the opacity of the objective gaze.
The mist that envelops the image and the meditative electronic hum that replaces the usual background sound gradually transform the image into “white noise”, allowing the spectator, through contemplation that is bereft of individual self-identification, to transfer to a condition of pure consciousness.
The unhurried rhythm turns the narration into a dynamic, almost monochrome drawing. Time stops being the reality, the artist simply captures the surrounding actuality. In this sense, Nikolai Onishchenko's video is akin to the films of Michael Haneke — the static shots and the alienated gaze of the author provide his works with a cinematic resonance.
The minimalism of the expressive resources and the almost complete absence of a narrative are distinguishing features of the artist's works. The exhibition project Mist. Stop continues a series of works in which time and space are interwoven and layered on, adding a fourth dimension to the viewer's perception.