The first impression that Leschenko painting leaves is that all habitual and settled definitions that've been cultivated by centuries of development of the fine arts break to pieces like skittles, by a rolling bowl of these strange pictures. This strangeness is of a special kind: it comes from feeling of laconism and simplicity, from seeming ease of the detailed analysis of any of the presented compositions and from impossibility to evaluate an exhibition in whole. It comes from from impossibility to make an only conclusion, from impossibility to reach the borders put by the painter to himself by his creative work.
Each painting shows mountains, snow ridges, spurs, plateaus and gorges, passes and mountain peaks, valleys in curls of mist and abysses all covered by haze, canyons falling in darkness and sharp light borders of slopes, smoke of night clouds and steaming mountainsides. Nothing but mountains, mountains and once again mountains. Then you start noticing some repetitions: mirrored compositions, different plans of identical landscapes. You start to pick out most frequently meeting diagonal constructions, but after all you inderstand clearly that all this is different and absolutely integral in its diversity.
Leschenko pictures do not imply bright hues. And this is an essential thing: it is an attribute of "unaccented" painting that neither counts on emotional collapse of the first impression nor supresses a spectator by physiology of color activity and sensual or color stress. It is not a question that Leschenko pictures do not have sharp color drops, contrasts or edges - there are many of them. It is a question of flowing into a picture. Such paintings are not momentary, they are processual. They are meant for flowing into, for looking into. Naturally, the state of meditativeness and self-absorbness by no means gets in touch with the idea of world transformation, overcoming of social chaos, etc. In this sense Leschenko paintings are much closer to East vision rather than to West.
Refined light effects highly sophisticated in their simplicity and naturalness, blinding whiteness of mountain plateaus and firns, deep utter darkness of hollows and gorges, transition of light in shadow and shadow in light, endless game of light and darkness, of night and day - all this is filled with deepest philosophical sense. Vladimir Leshchenko's pictures are filled with cold and warmth, precisely weighed by Nature itself, evil and good, darkness and light, delight and horror always being in their world confrontation and endlessly renewing unity.
The truth is simple and well-known: «all is in all». True art is just engaged in repetition, endless indefatigable repetition of known for a long time and always last-time trues; discovering of something new (and does that 'new' exist?) is suitable for science. But neither science nor philosophy can answer the main question: what for? Art does not answer this question as well, it only shows us ourselves making us claim shockingly: it is all that simple! All is simple because … all is in all..
It is impossible to stuck in any of the schools of painting because none of them wanted all-in-all but impression or expression merely, either surrealism or world tragedy. And the choice is always here: this way or that. Either severe sobriety of analytical art or splash of inner emotional. Vladimir Leschenko does not consider himself to have a right even to slightly blink his eyes to leave behind world events not joining his art system. All or's he replaces with and's recreating canvases of rare simplicity and force, reserve and depth, unity of global vitality and tragedy, weighting death and life, regularity and constancy of existance, horrible coldness of inhuman nature and its filling with life. Everyone will see in Vladimir Leshchenko's canvases something unique and personal. And this is also strength of real art - as if by request it is for you only, it is alone with you.
A. M. Orlov