We live in the Universe of Malevich, though we very rarely notice it. Vadim Gushchin photographs Everyday Objects in such a way that it is immediately obvious that they have originated from Malevichs Black Square. The main idea of design is the sparing use of form. El Lissitzky, a pupil of Kazimir Malevich, was the first to formulate this idea in relation to the industrial object. Malevich used the expressive means of painting sparingly. Lissitzky transformed his world for the needs of production. Consequently, Malevich can be found in the depths of an industrial object. In his rejection of illusionism, Vadim Gushchin follows in the path of Malevich. Because when we talk about pure forms, we recall Malevich his works, reduced to the depiction of the pure plane. A paradoxical effect arises when photographing objects. It would appear that reality is being documented. That is to say, things are presented as they are. But in fact, in order to do this, things are taken beyond their usual context. That is, each separate object is placed in a meta position in relation to reality. And the better the shooting is done, the more accurately the object is reproduced, and the bigger the size, and the better the lens, the more that object will be alienated from its habitual existence. Once photographed, objects rise above themselves. In Gushchins artistic space, industrial objects are transformed into sculptures. And each of these sculptures gives witness to its source the Universe of Malevich. Photography is the royal road into perspective-unconscious. That is, more or less, what Walter Benjamin wrote about in A Short History of Photography. His idea became the principle of development of modernity in this art form. Vadim Gushchin subjects it to scrupulous analysis. In his Cultural Treasures he complicates the conditions of the experiment, introducing colour into his formerly classical black and white series of still-lifes. It comprises a few series, the heroes of which are, for the most part, cultural objects. The books in his photographs do not simply refer to a specific time on the strength of the author/title, but due to their thumbed and faded state they cause tactile-olfactory experiences to arise from the past.

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