Painting is always the result of interaction between the artist and the material. Artists decides for themselves to what extent they try to control the process: whether they seek to subjugate the matter, or they help it to realisethe potential contained in it, without consciously resisting it. The element of chance is inevitable. The artist plays the role of a conductor, trying to channel the energy of participants in the desired direction.

Gerhard Richter called a series of his abstract paintings created in 2006 "Cage (1-6)" after American minimalist composer John Cage, whose experimental work inspired him since he first heard it in Germany in the1960-s. Cage's compositions often consist of simple instructions to the musicians, which they have to interpret on their own. The result depends on the will and the discipline of the performer – as well as chance and countless coincidences. Richter treats his paints the way Cage treated sounds. The artistremains the author, he feels the result and carefully develops his relationship with tools and materials. The accident becomes a creative method, changes in the painting's surface occur regardless of the artist's imagination and are consistent only with his premonitions. 

In his work Georgii Uvs develops a similar approach, devoting himself to the study of chance. Developing artistic techniques, he seeks to create conditions for the emergence of new imagery, which would have the ability to introduce humanistic patterns into the world. Combinations of colours and complex textures are formed due to certain fluid properties of specifically created paints. The artist manages the process, exploring the characteristics of oils and pigments. The work is always visual, and from the very beginning it is conceived by combining colours and images, but the picture itself is the result of a much more complex relationship between the artist and the world. Painting begins to exist independently in the process of its creation – being formed under the influence of heat, light and gravity. Dense layers of oil paint dry out and transform over the months, confronting today's culture of immediate consumption. Many paints that Georgii uses acquire a characteristic glow in ultraviolet light. Their synthetic texture has a characteristic property that questions material certainty and imposes some kind of perceivable ambivalence onto the painting as an existing object. The reality forms the images; the artist guides them and learns from them, planning his every next step accordingly.

Objective, positivist perception of the reality allows the artist to understand existence as an infinite set of interrelations and interactions. Georgii seeks to take part in them, to discover his own subjectivity, without any ambition to construct some new imaginary worlds. His work has the character of constant research into the nature and his own abilities. The artist retroactively gives his paintings almost abstract titles, denoting some sort of objective resemblance. "Genesis", "Mesozoic","Wings", "Codes" – in each case, metaphysical concept sallow us to correlate the idea with the feeling that the artist sought to consolidate. For example, the series "Mesozoic " creates a space of emptiness that precedes the beginning of any life. The geological term helps to formulate the perception of ontological non-existence, a subject-less world,always preserved as an unshakable balanced constant. "Genesis", the process of origin, describes the process of creation, the fusion of paints and colours that reveals the presence of harmony and order.

American critic Clement Greenberg believed that the aim of art is to constantly break with tradition. Any adherence to existing models for him would be a sign of kitsch. Abstract art seemed to be more "pure" and progressive as it allowed expressing artistic talent more consistently. Today, this approach seems too presumptuous – or at least utopian. A work of art possesses physical independence, living its own life. Painting exists as amaterial object, a communicative tool between the artist and the viewer. The task of the beholder is not merely to recognise the aesthetic origin, but to overcome one's own prejudice, to discover something in oneself in a collision with the unknown.