Benjamin Vasserman is one of the most known contemporary print artists in Estonia.
Benjamin Vasserman (1949) is one of the most highly recognised modern Estonian graphic artists, whose creative biography includes in addition to 25 years of exhibiting activity here and abroad also several important and highly rated international prizes, e.g. from the Ourense and Varna biennals. In the year 2001 the artist received the title of \"the Estonian artist of the year\" and he was nominated the laureate of the annual prize.
Still, Vasserman\'s works are everything but \"local\", differing decisively from the characteristics of the traditional Estonian graphic art, giving firmly up all references to the surrounding environment. Graphic sheets of Vasserman are \"things in themselves\", separately standing world systems, geometrical universes. The author deals with absolutes, not every day occurring phenomena. Time dimension of his esthetic rooms is continuous, not disrupted or transitory.
While approaching Vasserman\'s works, we should give up attributes that are being used while talking about the traditional \"Estonian graphic art\" and leave in only \"technical perfectness\". Etnographic motifs have turned here into travelling between absolute landscapes, the improvisational free-verse line has been replaced with mathematical-arithmetical esthetics, instead of scarce use of colours we see drawing out of glitters and colour echoes.
But the most unavoidable is the notion of the \"room\". Let\'s stress - before starting with a graphic sheet, the artist initially constructs the depicted object as a three-dimensional one. Only after that he starts to interpret the room: profoundness slides into a plane surface, capacities are crushed with their faces down flat onto the paper surface. Still, Vasserman\'s sheets can be described as three-dimensional ones that explore the possibility of co-existence of ideal forms. Works, being both highly geometrical and being executed in highly esthetical etching and aquatint techniques, are looking for the absolute. Vasserman knows perfectly well the impossibility of the fulfilment of his goal, as each of his sheets is a new absolute, a new ideal rejecting the previous one. This is a continuously repeating sequence of ideals.