Your dream is someone else's reality (Milorad Pavich)
Deja vu is the realization of reality as something-that-has-happened-before. This is the feeling that makes one doubt the reality as something-that-has-happened-before often repeats itself in dreams. In the same way deja vu makes one hesitant as to the reality of events. This is a borderline state of mind and therefore it leaves some sort of metaphysical doubt.
Deja vu is a sensation sly reality makes one experience in order to give a glance of its illusiveness. Deja vu is like an electric discharge - it paralyzes and confuses. In the previous series titled "Reality" D. Kochanovich used the fundamentals of video having accomplished them with the means of painting. Borderline subjects of the paintings clearly delineate the reality, having captured it in its utmost actuality. The art combines disparate, antinomic phenomena such as fictitious and documentary, art and video, movement and statics. High-contrast phenomenon of art is born from the fusion of these polarities, something whole organically and having distinctly visible parts at the same time. In "deja vu" series the artist turns to this strange, not fully researched phenomenon in order to introduce interactivity into painting, which continues the subject of "Reality" series. Kochanovich chooses the painters' works (from van Eyck to Picasso) thoroughly and deliberately but reworks them without the central, key fugures. For instance, Picasso's "Fillette au ballon" without the girl looks an entirely different work, a geometric masterpiece, in the same way draperies in a Reni's painting that used to cover the figures' nudity, now continue with their flight in the wind, assuming the shape of a hieroglyph whose lines depict pure nudity as presence. Figure-based art is too totalitarian, with its inevitable centeredness. Background scenery stays in the periphery of attention and is dissolved in one's consciousness unnoticed but sometimes it's the background where the real beauty is timidly hidden. The choice of the objects for artistic analysis is for the most part determined by the romantic nature of the artist himself. He brings about the feeling of deja vu taking away the figures from the well-known or, rather, contextual works and makes reminders for the viewers who might have forgotten the names of masterpieces. The author takes out the center, decentralizes the works turning them into entirely new pieces of art. Kochanovich's works are connected inseparably with the original works, quoting and referring to them: intertextuality immerses the viewer into the integrated continuum of the classical painting at the same time correlating to the actual art. One gets a seen-it-already feeling but the uncertainty of the sensation resembles a slight psychosis of an actor-devoid scene where nothing is happening with the camera is shooting and the time of the film passing which brings the moving statics into the act. Kochanovich deconstructs classical painting creating subjectless images (meaning they have no centre or subject) that are attractive thanks to their atmosphere; one can "enter" them which used to be impossible because of all sorts of Mona Lisas and Venuses on the foreground. The viewer's attention becomes some sort of a radar and they start perceiving images expansively, immersing themselves totally into canvas space. An artist is in control of perception an memory. Using postmodern techniques he obliterates the boundary between the subject and the object, the one who perceives and the thing perceived. The viewer becomes part of the work and a symbolic exchange of the viewer and the figure in the painting occurs. Jean Baudrillard's scheme closes itself, "the symbolic" prevails and as a result the viewer meets themselves in a mirror in one of the paintings. Kochanovich incorporates the viewer into his paintings not relying on figures or objects. He removes the signs charged with cultural connotations and gives freedom to wander around the now empty and all-encompassing paintings and the viewer stays in them drowning in the depths of their deja vu.