Movement is everything, the ultimate goal is nothing. Eduard Bernstein/Eduard Bernstein

Finding a difference in things similar and similarities in things different is the basic property of human intelligence in seeking an answer to the perennial question why? The second side of this medal also exists on the question of how? And the person, having failed to answer these basic questions, and in an attempt to imagine possible answers, turns, first of all, to their visual image. The whole history of art is riddled with attempts to solve this mystery and present an answer to this challenge of nature. It is the answers to the questions how? and why? we tried to portray our primitive ancestor on the stone, as well as these same problems concern the artists of our day. It is this concept that underlies any creativity and it is this task that is a conceptual idea for any creativity. The view of the world is changing, the ways of ideas transmitting are changing, but the general destination of thinking is always in an attempt to answer questions why and how. In addition, it should be noted that ideas may occupy minds if they are presented as images. The whole history of mankind, including the most recent cataclysms, confirms the fairness of this conclusion. Not because of the various contradictions broadcast by smart heads collapsed the known world system, but as a result of the appearance of the corresponding image on the screen. And as for the personal expression of the conceptual idea, it can be any character, sometimes corresponding to the level of perception of society, sometimes not corresponding to the state of his minds (it has relative significance), because it expresses the individual point of view of the artist, his personal attempt to understand life issues. What we usually call skill consists of at least two completely heterogeneous components: the ability to look into the future and the possibilities of analysis of the past and these two sides manifest themselves differently in different personalities. The technique is irrelevant in this case: both the primitivism of the 2nd and the conceptualism of the 20th century and are equivalent to rock painting in this, often unconscious, tendency to find meanings of existence. Therefore, at different stages of society development we see different visual image of conceptual idea, different design of traditional questions why and how. Perhaps conceptual symbolism in painting, as a form of postconceptual art, only provides us with a new line or new plane in which this perennial issue can be addressed. But finding answers to sacred questions of the universe just provide a thorny path of knowledge.