Series

    series of the year 1975


"Trumpeters" (series of 25 works)                               

  

"In the fields" (series of 4 works)                                 

  

"Beaches" (series of 5 works)                                     





    series of the year 1979


"Backs" (series of 13 works)                                          




    series of the years 1985 and 1990


"Punks and skinheads" (series of 5 works)                     

  

"Bathers" (series of 26 works)                                          

  

"Divers" (series of 12 works)                                             

  

"Sitting man" (series of 36 works)                                     



 

    series of the years 1987 and 1988


9 paintings of the series "Waiting for Charlotte Corday" (series of 12 works)  

           

                                                                                           




    series of the year 1985


"First lap" (series of 5 works)                                              


"Adam and Eve" (series of 10 works)                               

 

  


    series of the years 1990, 1992 and 1997


"Runners" (series of 21 works)                                   

 

"Marathon" (series of 2 works)                                   

  

"Journeys" (series of 7 works)                                    




    series of the year 1990


"Prodigal son" (series of 4 works)                             




    series of the years 1990, 1991 and 1992


"Freight train station" (series of 5 works)                

  

"Physical culture lesson" (series of 6 works)           

  

"Bedlam" (series of 30 works)                                   


"Philosophers" (series of 8 works)                                    

  

"Sauna" (series of 17 works)                                     




    series of the years 1992, 1998 and 2000


"Family album" (series of 20 works)                                    

  

"Heads" (series of 40 works)                                               




    series of the years 1994 and 1996


 The three-meter-tall bronze figure,  Good Morning , has become Essaian's hallmark of a sort, and was probably conceived as such: the impersonal and as if canonical portratit of a contemporary extra-contemporary, naked as the day he was born.
The serious, ostensibly restrained, but always emotionally charged art of Sergei Essaian is not meant for the indifferent viewer. 

                                                                                                                                              Anatole Strigalev, 2002
 

 "Good morning" (series of 8 canvases and 1 bronze)      




    series of the years 2000 and 2001


"Love" (series of 4 works)                                                   

  

"Night" (series of 2 works)                                                   




    series of the years 1995 and 2005


"Interiors" (series of 18 works)                                 




    series of the year 2004


"Prison" (series of 3 works)                                       

 



    series of the years 1993 and 1999


"Cells" (series of 10 works)                                                      




    series of the years 2004 and 2005


"Mill on a hill" (series of 5 works)                                  




    series of the years 2001, 2002 and 2004


"Reliefs" (series of 13 works with 7 "City walls" and 6 "City")      

                                                                                      


"Windows" (series of 7 works)                                                



    series of the year 2004


One way or another, the idea emerges of the same universal viewing situation: a framed piece of reality is different from an unarticulated, wild, simple one. The house gives this point of reference: the notorious rectangular superstructure now becomes first of all a frame, and ESSAIAN begins to paint a universal landscape "for this frame." Of course, this landsca­pe cannot be universal in its content, so to speak; what can be universal is the aim itself, the impression. And ESSAIAN paints versions of this impressionistic landscape, articulating just this moment in the temporal regime of painting which is able to "keep pace" with impressions. 

 

                                                                                                                                         Alexander Borovsky, 2006


"House" and "Views" (series of 10 works)              



 


2016