42

This article analyzes Yakov Chernikhov’s “compositions,” relating his constant search for new forms to the capacity to convert fantasies into representations. In contrast with Aristotle, who conceives mimesis as the equivalent of artistic enterprise, Chernikhov perceives his “compositions” as acts of overcoming mimesis through phantasia. The visionary illustrations of his Architectural Fantasies express his endeavor to replace words with graphic images, based on his belief that the potential of the international language of graphics to function as a forerunner of progress derives from the power of fantasy. The aim of this article is to elucidate how Chernikhov treats the tension between fantasy and reality and to examine to what extent his graphic production succeeds in overcoming mimesis through phantasia. The answer to these questions could help us explain why Chernikhov has often been judged as unclassifiable and to evaluate to what extent his attitude reflects the polarities between rationalists and constructivists. The opposition between “composition” and “construction” allows us to better understand Chernikhov’s position, both unique and fundamental, in relation to constructivism. The article highlights the fact that the essential role of phantasia for Chernikhov derives from valuing “composition” rather than “construction.”