"...According to the article "Quest of Knowledge," on the dawn of that which we altogether arbitrarily and doggedly call "human," in primordial tribes the distribution of roles was more natural and connected: a hunter was a warrior and he was a shepherd. An artist was a priest, scientist and engineer. This experience gradually was stored in the subconscious on a instinctive level already codified as a mathematical formula. Seeing only the surface layer of this experience we arrogantly called it primal. But even if this primal consciousness was very fundamental, very sensitive, it used abilities which are lost today. Look at how balanced and contemporary the compositions of the primeval artist are, how poetic and musical they are. Although by our modern perception we can discern only a drawing, nonetheless our subconscious prompts us that the codification here is more multi-faceted , that the primeval artist created a whole complex which we understand first and foremost as a drawing. Having said this, it is not surprising that many musicians draw and write poetry magnificently, and poets illustrate their own works, and play guitar during breaks. Summing up the above mentioned points, the artist should be looked upon as a conduit of archaic, elementary knowledge, which we sometimes classify as knowledge from within, and art itself as a codified reservoir and language of this knowledge. Perhaps, therefore, we are very often interested in the works of primitivists and contemporary artists working in archaic styles. On the other hand we delight in the utilitarian streamlined form of an airplane as perfect, that is, technical information codified in a drawing again becomes engineering and the subconscious automatically makes this connection with the esthetic "interpreter." There is more to it. Thanks to working with the codified information, the artist having been "infected " with it, begins to express the appearance of extrasensory mutations - premonitions, physiognomic abilities, etc. - in it. Certainly, in "troubled times" (before revolutions, wars and cataclysms) art becomes more dynamic; it changes. But there is nothing supernatural here. If you are in a field, you know there is a very high probability that a brick will not fall on you, that is, you have already foreseen some aspect of the future. Artists, as a more emotional aspect of humanity, feel this on the instinctive level. Apparently for early man it was rather commonplace to "foresee" the appearance of an enemy, earthquakes, etc. Perhaps that is why he, and not the dinosaurs, survived..."

I. Shlosberg

Izya. Shlosberg graduated from the Moscow University of Art, and the Belarus Institute of Technology in Minsk. Mr. Shlosberg combines his technical training in industrial design and independent study of form and color to give him a unique perspective on the concept of art.

Mr. Shlosberg is a prolific, avant-garde artist. He combines his technical training in industrial design with his training in fine art. His independent vision of form and color gives him a unique perspective on the concept of art. His preferences range from the surrealism of De' Kiriko and Magritte to the romanticism of Chagall, Breygel, and Klimt. However, Mr. Shlosberg tries to take the concept of painting to a higher degree. He thinks about painting as a tool or method for understanding the world. Just as most people see the world in terms of philosophy, physics, and math, Mr. Shlosberg uses intuition, reflection, and the subconscious. The human and global complexity presented in his work defies formulaic understanding. Every painting is a breakthrough emotionally, spiritually, and intellectually. His techniques create an expression of profound depth and spirit in each painting. In his work, Mr. Shlosberg presents his innovative and unique concept of the physical and spiritual views of humankind and the world. Mr. Shlosberg's distinctive contribution to the world of art - three dimensional works - is his trademark. These original creations not only use traditional elements such as color and form, but also different materials to add depth and texture to conventional two-dimensional oil paintings.

Belarus: Minsk 1978, 1982; Pinsk 1973, 1975, 1981, 1985, 1988, 1989, 1990, & 1991; Brest 1993;
Russia: Moscow 1985
Ukraine: Odessa 1990
Germany: Altena 1991; Berlin 1992
Poland: Bjala Podljaska 1988, 1990; Lodz 1990; Warsaw 1992
Hungary 1990
Spain:Asociación Cultural Ruiz Aznar, Granada, 2005
U.S.A.: Zimmerly museum, New Brunswick, 1995-2010; Russian Art, Potomac, 1994-1996; Maryland government Palace, Annapolis 1996; Zenith Gallery, Washington, 1995-2003; International Art, Washington, 1995-1997; Gordon Gallery, Baltimore 1996, 2002; Hoffberger Gallery, Baltimore, 1997; Gallery 6001, Baltimore, 19992-2007; Montage Gallery, Baltimore, 1999-2010, Baltimore; American Artradgeous Gallery, 1999-2001, New York; Lombardo Gallery 1999-2002, New York; InterArt Gallery, 2001-2002, New York ; Ray&Sveta Dileo Art Show, Silver Spring, 2003, 2005; Gallery Blues, Cleveland, 2003-2004; Rockville Show, Rockville, 2003; Koll Nashim, Baltimore, 2004;, MAP, Baltimore, 2002-2009; Russian Synagogue, New York, 2004 ; Arts Barn, Gaithersburg, 2006, 2008 - 20010; Artomatic, Washington 2008; ArtBank, Washington, 2008-2010;

e-mail address: izya50@yahoo.com