Simon Zealot 

Curator: This intriguing piece is entitled "Simon Zealot" by Konstantin Korobov, executed in oil paint, as you can see from the texture. The artist blends realism and surrealism. What are your initial impressions? Editor: A somber preparation. A man appears to be under a cloth while holding his hands together and praying, with the executioner raising his brutal-looking saw in the corner. A mournful angel seems to accompany the main character, an apostle who won’t live long... This really hits you in the gut, doesn't it? Curator: It does indeed. The focus on texture – the coarse cloth, the smoothness of the skin, and the cold, metallic gleam of the saw – underscores the social realities surrounding Simon Zealot's story. What do the materials used and the mode of display say about the subject’s significance? It seems he’s not treated as some unreachable icon. Editor: Exactly! The composition, almost theatrical with its dark backdrop and concentrated light, heightens the drama. And while seemingly rooted in the historical, there’s something very modern, a raw vulnerability in the presentation, even an implied social critique, or is that my imagination running wild? Curator: Perhaps, and that ambiguity is fascinating. The artist's choice of oil allows for such nuanced rendering, highlighting not just visual details but also inviting viewers to contemplate on faith, sacrifice, and the price of unwavering conviction within the confines of a specific social and historical moment. Editor: It feels less like an illustration of a saint, more like a meditation on the human condition. A deeply melancholic figure, facing what's to come with closed eyes, shrouded, framed by the angelic presence and… and that rather medieval-looking saw. He feels surprisingly accessible, not elevated. Curator: I agree. Considering that this work exists within contemporary painting practices, where historical or religious subjects are often re-evaluated through a modern lens, it is fascinating to study how Korobov challenges and subverts traditional expectations. The question that arises is that it makes me think about martyrdom today and about which systems prevail to generate injustice still today. Editor: It makes me wonder, what is he thinking right before he gets executed, and is there anything I would do? That quiet contemplation contrasted against the impending brutality, leaves a very disquieting resonance, doesn’t it? Curator: It most certainly does, a stark reminder that even faith and conviction are often inextricably entwined with social structures and their discontents. Editor: Leaving me contemplative on justice, religion, devotion... I didn't expect to be doing this today. Thank you.