Authorial Comment
In our collaborative painting, we deliberately stopped the image at the moment when it was only just beginning to become legible. It was important to us not to let it settle into a single definite image. This is how the idea of the flickering image emerged: each time one looks, the painting can assemble itself anew and produce different possible images. At the Smirnov and Sorokin residency in Moscow, we worked on a series we called “Somatriyas”. For us, the name was connected to the sense that the painting somehow “shakes itself”: the viewer repeatedly tries to find an image in it, but that image never becomes finally fixed.
— *260822 Ретроспективное свидетельство о раннем дискурсе*, edited retrospective authorial testimony, 2026.
Made outdoors in Dresden. It is remembered as the first painting in which white paint was used actively; the moving sportsmen remain readable inside a field that is simultaneously being opened by white. An incompatible combination of techniques later caused parts of the surface to run.
Prototype for the Series
150815 Future Dishes, together with Blinking Sportsmen, served as a prototype for the later Series, with 150815 identified as the principal work from which the eponymous Series was developed during the 2016 Burakova studio residency. The white field is now described authorially as more than background: as a material of chaos / chora / nonknowledge, a general medium within which images can appear without closing the surface. This is a present-authorial reconstruction of the 2015 pictorial operation and is not backdated as literal 2015 terminology.
**Present authorial clarification — 2026-09-03.**
Historical caption
“The time imprint in the motion of the sportsmen.”
— *M&L Future Dishes.pdf*, 2016.
Related Works
Future Dishes
