Around this time, Nikolay Bakharev was born in Sakha–Yakutia, Siberia in the late 1940s. He has produced some of the most important photographs in the history of the art by focusing on interpersonal connections amidst the Soviet world. His projects create unvarnished portraits that get down to the marrow of companionship and kinship. It is a tender reminder of the richness of human connection, even in an age of social distancing. Bakharev’s photographs invite us to picture a world where love, intimacy, and joy flourish despite the omnipresent shadows of the state.
Bakharev’s path into photography sprung to life when he first entered state care. There, he found the cheap, plastic Smena camera that set him on his path. This meeting sparked his interest in taking pictures of people in their environments. It led him to produce an extraordinary and beautiful sequence of pieces titled “Attitude,” “Relationship,” “Etude,” and “Lubok.” Whether by blood, circumstance or choice, each series captures the various aspects of human connection, allowing audiences an inside look at the honesty and rawness of relationships.
One of his most well-known themes, “Relationship,” It features evocative, moving images of parents lovingly holding their kids and couples intimately kissing. This incredible black-and-white photo, one of the series, depicts the unmistakable bond between a father and his son. It spotlights one of the few hopeful stories ever to be found in his oeuvre. Bakharev’s camera was not only a tool for documentation. What it’s done is connected people, connecting the dots between personal lives and collective experiences.
During the adult swim in the 70s, families and workers would spend time along Cheryomushki and other parish lake beaches that Bakharev frequently visited. There is an openness in his photographs from these visits. They depict comrades reveling over bottles in the rosy conclusion of day, bathing their mischief in a jubilant ethereality that sharply clashes with the oppressive structures of Soviet reality. Bakharev’s compositions adhere to the compositional aesthetic guidelines of the trendsetting magazine “Soviet Photo.” This magazine had a profound impact on his artistic outlook and technique.
A consistent thread throughout Bakharev’s work is his reference to traditional depictions of motherhood. His beautiful aesthetics glorify the myth of motherhood while presenting it with the raw context experienced by all Soviet citizens. He transcends idealism to hold up these relationships, with a heart-shattering and painful understanding of what is cut out from these connections. What I love most about Ryan’s images is the way they reveal the warmth intimacy of human connection. They illuminate family celebrations and leisurely afternoons, full of feeling.
His unparalleled commitment to authenticity often put him in direct opposition to the expectations of society. In a time when almost any image of nudity was considered pornography and thus illegal, Bakharev navigated these restrictions with sensitivity. He achieved this through the creation of works that honored the beauty of the body, while being cognizant of the societal narrative that comes with nudity in artwork.
“They need to understand that I am not watching my sitters—it’s as if I’m part of the picture… A picture should not be beautiful, but interesting; then you can find beauty. Beauty is in the human relationships that are formed.”
His commitment to authenticity often placed him at odds with societal norms. In a time when almost any image of nudity was considered pornography and thus illegal, Bakharev navigated these restrictions with sensitivity. He captured moments that celebrated the human form while remaining aware of the societal implications surrounding nudity in art.