He was born in 1940. Early in life his father took an interest in fine arts and even tried to enter the Art School of Odessa but without success. Bu his sun who had bent for painting from his very childhood became after all one of the leading artists of Minsk.
But he experienced a lot of difficulties on his way. At first he studied at the paint shop of the town Slutsk, then at the Minsk Art School (1961-1966), after graduating from the School he entered the Minsk Academy of Arts.
He began to exhibit in 1965. And soon he gained I would say an honorary title of “hunveybin in art” that is in a sense recusant. Several times he was excluded from the Academy and it is clear because instead of social and realistic paintings he created surrealistic canvases and moreover some of them had traces of mystic.
In his character Skripchenko is a persistent person achieving his object in spite of everything. He says: “During our studies we were as blind kittens. We were not shown anything from the modern art. At the age of thirty I saw for the for the first time paintings of Petrov-Vodkin. Therefore I tried to come more often to Moscow, Leningrad, to visit the Trat`yakovka, the Hermitage and the Russian Museum. About twenty years ago Boris Zaborov introduced me to Oleg Tselkov, his works impressed me very much. But however surrealism influenced most of all on my formation as an artist”.
At the exhibition in the Museum of Modern Art in January 2007 was displayed several works of Skripchenko, including a still life painted by him in 1994. It looked like usual still life, painted in realism. Once a collector looked into the Museum, he collected only realistic art. Museum’s curator Ludmila Zhiltsova leaded him to this painting, “no, - said the lover of realism, - it is not a pure realism, here there are some surrealistic moments and something like mystic”. And he was right.
At the present time Georgiy Skripchenko is one of the most famous artists of the capital of Belarus. His works located at the National Artistic Museum of Belarus, at the Belarusian Museum of Modern Art, and also at the private collections in Belarus, Germany, Holland, Italy, Russia, Canada, the USA, Poland , Israel, Francce and other European countries.
In spite of Belarus his personal exhibitions took place in France, Canada, and the USA. And there is no end to group exhibition in which he participated: Minsk, Moscow, Paris…
In 1997 the former “hunveybin in art” was elected a Member of the Belarusian Academy of Arts.
There is no such vanguard which would not turn into the “retro”. It is so in the life and especially,in the arts.
About twenty years ago, during the period of prevalence of “socialist realism”, it was difficult to imagine that surrealistic-nature images would he habitual for our arts and enter the historical video series, that, moreover, they would be associated with the “retro” and cause nostalgic tears.
This is due to the fact that in the artistic and near –artistic encirclement the surrealism was considered to be an appearance of a free spirit and even a mean of the epatage. It is unimportant that the world outgrew the surrealism as early as in the twenties. Usually European fashion comes to us with a delay, but flowers on our soil with the flowers of unexpected color and shape.
The influence of the surrealism’s aesthetics may be seen almost in the works of almost all Belarusian artists of the first raw.
Georgy Skripnichenko is the most “classic” Belarusian surrealist. Just in his creative work the “surrealism” is gains a foothold simultaneously in the form of almost mirror reflection of our reality, because in the life there is also a place for phenomena, which cannot he treated using traditional standards, stereotype arguments.
The artist sees the world outwardly dissociated, but consolidated and integrated. This integrity is not achieved, however, through the harmony, but through an absurd, so as the anarchy is the order’s mother and the eternal Chas is the foundation of the Cosmos.
Georgy Skripnichenko appeals to universal ideas and adapts them to Belarusian realities. I perceive his works as the modern visual version of Belarusian fairy-tales, the devil and the angel switch the roles from time to time.
The figurative code used by the artist allows him to he simultaneously everywhere and at any time white remaining in his studio. In order to travel in the space and time there is no need of the machine, it is sufficient just to peep in one’s soul and then to become terrified. Or overjoyed As there will be luck…