Nicholas Berdysheff (*1989) is a visual artist based in Atlanta, GA.
Nicholas combines passion for photography and the skills of digital imaging techniques. Berdysheff creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used. His media artworks directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. With a conceptual approach, he tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
His works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By choosing mainly formal solutions, he touches various overlapping themes and strategies. Several reoccurring subject matter can be recognized, such as the relation with popular culture and media, working with repetition, provocation and the investigation of the process of expectations.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. His practice provides a useful set of allegorical tools for maneuvering with a pseudo-minimalist approach in the world of media art: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. By exploring the concept of landscape in a nostalgic way, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination. His works doesn’t reference recognizable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted