Chubarov's pictures-objects are created with a single brush stroke, "without seams". True, it takes him several hours of ceaseless labor between the first and the last breath, during which time the work is being created. This temporal aspect is of much importance to the artist. It is precisely in this sensation of procedural consistency, the regime, the arrangement of the actions within the time space that archaic practices and the modern understanding of art are intertwined. Hence the impossible extension of Warhol's Empire State Building and the accented monotony of some of Boyce's actions. It was probably back in the times of his early graphic attempts that Chubarov was acutely aware of the need to cut the flow of form-building into sections or slices, that is, individual works. He was tortured by the finality of the process. Expectedly, the sheer scale and unlimited potential for filling in such works with figurativeness and mimetic ness could powerfully extend the limits of established procedures, but not to the point of infinity. Here we are confronted with yet another aspect characteristic of a new understanding of art, which Chubarov arrived at in his Berlin abstract works. He came to understand procedural aspects as a possibility for launching a certain mechanism of inner development and self-realization of the work (moreover, its self-reflection: the work is capable of self-depiction, suggesting ways of its perception and interpretation.) It was already the classical Russian avant-garde that was dreaming of certain independence, self-reproduction, and an existence separate from its creator. Malevich spoke about "the painting's psyche". Filonov meant practically the same thing when he spoke about "being, pulsing and its sphere, bio-dynamics, intellect, emanation, inclusion, genesis, processes going on in color and form – in short, life as a whole." The so-called "actual" art gave an even more visual and direct example of such independent life of a work of art. In 1971, R.Raushenberg displayed his "Mud Muse" – a mud bathtub filled with the wastes of our machine civilization in which some independent process were going on, manifesting themselves by bubbles on the surface (Rotting? Absorption? Synthesis? Something else?)
Chubarov launches a certain mechanism, an electric "perpetual mobile". He naturally infuses the canvas (object) with his own energy, similarly to gesture painting. He molds the color flesh with his both hands. This is reminiscent of the techniques of manual therapy or folk healers, aiming at direct communication of energy (and why not – Boyce wanted his shamanic actions to make a therapeutic effect on the viewer.) In this quality, too, the object orientation of his artifacts manifests itself. He discovers energy sources within the art works themselves (in his own words, he penetrates through the surface in the manner of Philippine healers.) Chubarov articulates the theme of search for and extraction of energy sources and certain "found objects". However, he employs the energies of various origin and from various sources, be it traditional-utilitarian sources such as heat, electric, mechanic, biologic, etc., or metaphysical sources such as energy impulses of the proto-consciousness that have been preserved but not yet employed. Chubarov captures and visualizes the energy of life and death, decomposition and rotting. The outbursts of his ribbon-shaped forms and patches, signs and aureoles, testify to the same thing. The term "visualization" narrows the real content of his artistic manipulations. Visualization according to Chubarov is at the same time an accumulation and supply of energy, a therapy and an electric discharge. He launches the vital processes of the work itself, upon which things take their own course: interference and spontaneous mutual contact, disruption and re-establishment of contact. This includes the visual contact with the viewer, who senses, on both the intellectual and tactile levels, the dense fields rich with meaning, forming around Chubarov's objects. Chubarov is an artist who best of all fits the description of "archaist-innovator", created by Yuri Tynyanov for a certain phenomenon in the culture of his own times. It was precisely a hyphenated definition "archaist-innovator" where the hyphen is the size of a lifetime.