"I dare to uphold the assumption that an artist-painter (artist?!) is not a misunderstanding, even in our externally glossy and internally horrifically contradictory modernity. The fact that he (the artist) is not a misunderstanding imposes exceptionally harsh demands upon him. Specifically – harsh. His product, which is called a painting, being a painting of the world itself, of his intellect and dignity, today must overcome incredibly difficult trials to fulfill its intended place in the oikoumene and in all of civilization, which is also horrifically glossy. Of course, we are talking about an appointment that is not shameful for either the artist himself or his consumer-viewer. I will try to outline the contours of a complex topic.

What speaks from behind the threshold of silence in a painting, and what should be emphasized first and foremost, is not bravado, blasphemy, spontaneity, or idiotic giggling – it is only a full-fledged TRANSCENDENT MANIFESTATION – magical and earthly, seemingly familiar, alluring and dangerous, as consonant with the collisions of its time as it is prolonged in time-space. In this manifestation, the energy of thought, beliefs, views, significant and destined, petty and majestic, good and evil is accumulated. It is responsible because it ennobles hesitation, soothes doubtful preferences, and, most importantly, teaches not to be frightened by the tricks of being. It is not a narrative, only a masterful narrative, expressed through signs, accents, and hints, embedded in image/sign/symbol. It is not an enemy, a skeptic or neurotic, a mocker. It is neither deceit nor mania. It is a correspondent to the vast essential, about which one cannot express a word, manifest through action, or signal through sound. It is all within itself – a commodity-not commodity, underestimated and valuable, which, only by seeing, can be obtained, which neither provokes hysteria, nor euphoria, nor aggression, nor ecstasy. It is not nirvana, not oppression, not a sedative, rather the opposite – a reliable stimulant, which reminds one not to fall asleep, without being a trigger for crying, Homeric laughter, or hedonistic pleasure. Finally, it is, successfully created, a manifestation-image, not a whim, not an ornament, not a pastime, only a weighty argument, a necessary piece for the universe's picture to close in its wholeness. Against it, one will not stand with an ignorant laugh – so strong is its fruit of diligence and focused imagination.

All of the above is merely my credo, perhaps not that which has been accomplished in my world of paintings, manifested on canvas. However, this is exactly what I have constantly confessed in the nativity of art, even when the goal proved unattainable for my strength. In the capricious land-cradle of art, I am justified by only one single factor – the factor of honesty and respect for the viewer, from whom I require only attentiveness and impartiality of judgment, so that mutual understanding between me, the author, and him, the viewer, can occur.

In the end, I will still allow myself a hint: everything I have created is inspired by the brilliant evangelical parable of the Prodigal Son.

Since the presentation of my paintings created over the years could not be rightfully called a fully organized project, even one like the project "Ad hominem" for my 80th anniversary (Lviv, Palace of Arts, 2021), the current exhibition at the gallery of Mr. Kostyantyn Shumskiy is titled "SMALL RETROSPECTIVE." This is truly a quantitatively small retrospective of characteristic works from various periods of my more than sixty years of labor."

Volodymyr Medvid