UKRAINIAN 3D ARTISTS OF THE FIRST QUARTER OF THE 21ST CENTURY: CREATIVE ASPECTS OF CREATIVITY, SPECIALIZATION IN ARTISTIC PRACTICES

Abstract

The article is devoted to a comprehensive analysis of 3D graphics as a tool of modern artistic practice in the Ukrainian cultural and artistic context of the first quarter of the 21st century. The transformation of the role of 3D technologies from a technical tool inherent in design, advertising and audiovisual industries to a full-fledged artistic tool of digital painting, sculpture and auxiliary visual art tool is considered. The purpose of the article is a comprehensive art historical understanding of 3D graphics as an independent tool of fine art among Ukrainian specialists of the first quarter of the 21st century, identifying creative aspects of individual artistic practices of Ukrainian artists who use 3D technologies in exhibition and digital forms of art, as well as the transformation of the functions of 3D graphics from an applied tool of creative industries to an autonomous means of artistic expression. During the scientific research, the following methods of scientific analysis were used: the historical-cultural method, the comparative-typological approach, to compare different artistic practices, and the formal-stylistic analysis, which allowed us to identify the features of the visual language. The structural-functional method made it possible to consider 3D graphics as an element of a holistic system of modern artistic practices. The case study method was used to analyze individual creative strategies of Ukrainian 3D artists. The scientific novelty of the research lies in the complex arthistorical understanding of 3D graphics as an independent artistic language in modern Ukrainian art. For the first time, a systematic classification of individual artistic practices was carried out, within which three-dimensional graphics are used not as an auxiliary technological tool, but as the main means of visual expression. It is proven that 3D graphics have their own aesthetic and expressive characteristics that form new models of spatial thinking and visual imagery. The study introduces into scientific circulation an analysis of a number of modern Ukrainian specialists working with 3D graphics and their projects that were not previously the subject of art historical analysis. The conceptual and terminological apparatus of digital art research is clarified. The study results show that 3D graphics in modern Ukrainian art functions as a tool capable of forming full-fledged figurative systems, new types of spatial thinking and visual language. It is proven that the individual practices of Ukrainian specialists working with 3D technologies go beyond the boundaries of applied creative industries and are actively integrated into the gallery, exhibition and immersive art space, in particular in VR/AR formats and digital expositions. The practical significance of the results obtained lies in the possibility of their use in art historical and cultural studies of modern digital art, in training courses in fine arts, media art and curatorial and exhibition activities. The research materials can serve as a methodological basis for analyzing the work of Ukrainian 3D artists, contribute to the further recognition of 3D graphics as a tool of modern fine art, and be used in the formation of interdisciplina ry programs and cultural projects.