If the image of God is considered a manifestation of the Image, representing it as a process, the expressionistic plasticity of V. Kharitonov is absolutely justified from the point of view of theology. Widely applying the effect of “peeling off” the contour, brought to perfection, the artist shows the dynamics and complexity of the likening of God to the face of one, several, and sometimes a whole swarm of human figures… The faces in Kharitonov’s paintings do not arise from external motives, but “according to the deepest tasks own being. “
Reverence before the Mountainous World is expressed in awe of splashing at least a drop of the glittering waterfall of worlds, rushing through the panorama of spiritual sight. A favorite composition move is a pair of hands, which are separated at different ends of the canvas… Iconographically, Khariton’s hands correspond to the symbol of the Hand with the righteous crowded in it. One way or another, the painter everywhere seeks to define the elusive creation of the Body of Christ.