From a historical perspective we can precisely follow the factors and processes, which influenced and enabled artists in the 20th century to create a personal artistic style, a so-called “individual genre”, as Tsvetan Todorov put it. The mechanisms to do so are very often based on the artistic fate of the artist and can even artistically sacralize some segments from it. There are many examples, like Jackson Pollock or Joseph Beuys, which can help define the ideological projection of the piece on a biographical basis, and to help us understand what event in particular is the reason behind the usage for example of felt or the specific, even partly ritual dancing or paint splashing.

At the exhibition, which opened at One Gallery, in Sofia, on October 31, 2018, the artist Sergey Rozhin showed his works in two acts. The show demonstrated exactly that pro-transcendental understanding of the piece of art traditionally used by the authors, whose constructive art element is spirituality and rely on the emotional impact on the viewers. This point of view, as it seems, has been validated as a leading trend for the modern artists. The restrained kind of art like photography or the rational conceptualism is quite popular as well.  Nevertheless, it seems like the postmodern environment creates the opportunity for a gradual fusion of those two lines, which give birth to their synthesis.

Sergey Rozhin’s art can show us exactly that interference of the significance of the personal spiritual world with his attitude towards the complexity of the reality in its socio-military aspects. In the context of his biography, outside the more conjuncture street art and hip-hop influences, may be the most important sociological factor is the artist’s family environment - his father is a church builder in Ural, on the one hand, and on the other – he is of Russian origin. Here comes Nikolai Roerich’s mysticism, as well as the deeply orthodox nature of Russian people – centuries-old stronghold of Eastern Christianity. This national-historical premise most probably plays a part in the art of an artist like Rozhin, who puts an emphasis on spirituality in all of its diverse manifestations. If we assume that these factors have created some basic transcendence in the artist, then its further artistic interpretation is based on that social premise. For example the shamanism he speaks of is in no way Christian in its character, but is a common practice in Central-Asian believes and an object of research by Roerich. I presume certain scholar heritage has influenced the works we are seeing now. This is interesting for us as an audience as we witness a different sensitivity, which changes the aesthetical concepts through the prism of geo-political peculiarities. The ideological core of the presented in the exhibition pieces can be found in an earlier project of Rozhin’s - Grandfather Street Art, which is well presented by Snezhana Krasteva, which is why I will not focus on it here, but one feels some metaphysical hint there, which the artist injects into his art, looking for the link between the world of ideas and subconsciousness. So to speak, this is the idea for consciousness and the consciousness of ideas, i.e. he is trying to build this invisible bridge via art. The complex task the artist has assigned to himself has obviously enriched his art and since 2013, and the exhibition we are part of now bears witness to the mingling of new idea layers, this time social, leading to that more mystified search for the above mentioned links. The author has turned the whole gallery space into a mystical field and like Klein turns the canvas into a spiritual field, Sergey Rozhin engages all elements of physical space into a new context. This is the most important activity. The sudden change of sound, light and visual environment changes our perceptions and we find ourselves in the whole contextualization where we participate. Thus the found object takes part in a dialectic system, while provocatively changing its semantics. Therefore the environment has an impact on the semantic system and by putting the shot by a cutter glass panes – objects of human destructive activity, in a metaphysical frame, the result is creative thinking. The way we think of the found object changes and we reach the final synthesis of a different aesthetic projection. This metaphorical change speaks for the author’s attitude towards the world conflicts and destructive resource, which could be viewed from a creative point of view. Of course, this is only one out of many possible interpretations on the topic the viewer can make, but it is a good example to find the problematics of the show.
Act I is rich in its usage of means of expression and conceptual accumulation, which crystalize the above mentioned synthesis between the personal transcendence and the reaction to the big social and political confrontations.  
Sergey Rozhin’s exhibition took place in two consecutive acts with semantic continuity, even though we could find some slight nuances of the provocation and its visual projection. The space has been rearranged with pieces, showing the clash between international creative impulse and certain geo-political conditions, which in this case have been interpreted as repression. Exactly the simple “manual” to deal with the artist reflects that conflict, which can be related both to the artist’s country, statistically known for its high level of police presence, and to its broader metaphorical meaning concerning Malevich’s art. Here the social aspects are united in a wider spectrum of ideas as the main accent in the exhibition is Malevich’s swastika. The artist’s approach is like the one in Act I – he doesn’t focus on a concrete theorem, but profoundly unfolds the problem by confronting the reality with his personal sensibility. The result is an attempt at breaking with the big Malevich influence, while his being compared with other repressive “situations” (for instance the police violence on the artist) creates connotations and issues concerning the oppression of the Black Square, which has become a modern convention. The author’s wish to look for new artistic forms reaches its zenith by turning sideways the Black Square on a red ground, thus introducing a repressive symbolics, where the author finds himself. The whole atmosphere is tinged with the feeling of a burdening like a swastika modern aesthetics and the striving for new ways, which like Malevich, Rozhin is exploring.

Не expands his interpretation by black and white drawings on vinyl, which are influenced by contemporary street art culture, whose young energy gradually creates the new vision of the known from Modernity “world of ideas”.