Aeon
Interview in "LandEscape Art Review" magazine.
LANDESCAPE ART REVIEW meets Alexey Adonin
An interview by Josh Rider, curator, and Melissa C. Hilborn, curator (landescape@europe.com).
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Hello Alexey and welcome to LandEscape. Before starting to elaborate about your artistic production and we would like to invite our readers to visit https://www.alexeyadoninart.com in order to get a wide idea about your multifaceted artistic production, and we would start this interview with a couple of questions about your background. You have solid formal training, and after having graduated from the Glebov State Art College in Minsk, you moved from Belarus to Israel, where you are currently settled: how do those formative years at the College help you to develop your technical skills as well as your creativity?
Thank you so much for your warm welcome!
During the USSR's historical events, in the early 90s, my family and I decided to leave for Israel. Those were hard times. People were afraid for their future. Fortunately, I was always busy with my own art world, which seemed to exist separately from all that turmoil and helped me go through it. As I always stayed away from any political movements that elaborate into a huge mass of people in one place and with one (often crazy) idea, it allowed me to prioritize acquiring artistic skills. In that respect, studying at the college helped me develop my creative skills and gave me a large practical base that I appreciate much till today. Classical education has played an essential role in developing my artistic taste. I love being able to experiment, not to the detriment of basic artistic laws.
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Intuition is the basis of your artistic practice, and as you remarked in your artist's statement, at the initial stage you approach your work without preconception, allowing spontaneous things to happen at the very first: how do you consider the creative role of randomness and improvisation playing within your approach?
Intuition has remained the basis of my practice for a long time now. I elaborate a neater approach in my recent experiments, yet I don't think I ever give it up completely. Spontaneousness mainly allows me to recognize different states within myself and transforms the most interesting onto canvas in real-time. But, of course, I like the process of searching itself, too - bringing fleeting thoughts to the light - experimenting and mixing things. I often use sketches in basic forms, without color whatsoever, which allows me a more controlled exploration of the canvas. I don't know in what direction it will go. My process is largely intuitive - a voyage of discovery - this is how I like it.
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You work with a unique palette, often marked out with delicate, sometimes even ethereal nuances, that provides your artworks with such oneiric taste, transposing further figurative elements — as in the interesting Ancient Dreams and Sacred Portal — to the dreamlike dimension. Could you tell us something about your choice of colours? In particular, how did you come up to elaborate the distinguishable transparent look that characterizes your works?
The mysterious power of color works as a sensory-activating experience on many levels. That is one of the many components which link the viewer to a multidimensional interwoven world the artist longs to convey. Obviously, every artist has his unique sense of color, which allows him to create his inner world on canvas. It is expressed in subtle nuances that reflect his personality. My work with color is very personal and intimate too. I always create through the prism of my own vision and tell about the world, which I see and deeply feel. To underline that experience, I use a distinctive and beautiful technique: I layer oil paints solely on top of one another to create a mystical, transparent look - tapping into a uniquely symbiotic relationship between color and form.
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On a philosophical level, an important aspect of your artistic practice concerns the notions of preexisting ideas, knowledge, and beliefs present in mind, something that he is born with rather than something he has learned through experience: when drawing inspiration from your inner world, do you ever happen to re-elaborate memories or references to your daily life? Do you think that the realm of imagination is completely separate from ordinary life, or do you think that ordinary life can influence imagination?
I do think there is something that makes every each of us unique. We do not come to this world completely blanked. We have definitely been "programmed" and possessed knowledge and ideas before we took this mortal shape. Sometimes these "notions of preexisting ideas" call us, and then the heart must follow the horizon's point and follow this magnetic pull and drive towards beyond. So in my view, it makes us alive and is a constant impetus for our life.
We are all humans, and our mind is always busy and always re-elaborating on something whether we want it or not. I'm not an exception. My mind uses every available information he has, making my existence on Earth better or what my mind considers "better." Imagination is a part of the mind and has evolved under external and internal factors. However, it is only a tool of mind though' it mighty and handily one. Lately, I am increasingly inclined to believe that we are merely observers of the mind's thought processes, but the mind itself is firmly attached to matter. Accordingly, if imagination is a part of the mind, it cannot work separately from reality. So that's it.
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Your artworks feature such a captivating sense of geometry: in particular, spheres are quite recurrent, not only in Existential Spheres but also in Enigmatic Incarnation and in Prana. Moreover, the way you play around with perspective is really intriguing, and we really appreciate the way it challenges the viewers' perception, reminding us of Giorgio De Chirico's works: would you tell us something about the composition of your artworks? In particular, do spheres play any role on a symbolic and metaphysical level?
I've always been obsessed with spheres. There is something in its shape that attracts me - so mysterious and straightforward at the same time. Maybe it is because the sphere is a universal shape that symbolizes big things like planets and very tiny ones like molecules and atoms, to name a few. It is a perfect shape that gives a spacious feel and helps me create a 3-Dimensional space in my artwork. I follow the natural perspective path with a clear center point in each painting around which every element revolves and impels from. Shapes, lines, and color blocks - everything works together to create a unique atmosphere. The kind that allows you to plunge into non-verbal contemplation by connecting your imagination and critical thinking.
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Some of the works from your recent Beyond The Consequence Of Time series feature large minimalistic backgrounds — as Mama-Substrata, Man On The Beach, and Walking On Yellow — that seem to detach the center of the canvas from the background: would you tell us something about this interesting aspect of your works?
As I wanted to make painting more laconic and neater, at some point, I felt the need to get rid of minor elements, leaving only the most "precious" ones. I also felt the minimalistic background could have an exciting impact on the composition. It is becoming the main intention of some of my recent pieces. At first, I ultimately make the background, and then I construct the center element using the prepared sketch. I am working inside its borders only. There are no other differences from my other work except those mentioned above. But I think it may allow me to develop a new direction in my creativity.
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Your artworks often feature short titles, that often - as in Chernobyl - convey subtle hints while maintaining the element of ambiguity: how do you go about naming your work? In particular, is important for you to tell something able to walk the viewers through their visual experience?
There is a saying, "Brevity is the soul of wit." It's why I enjoy the short, not too straight titles, especially since some works do not provide an obvious interpretation. So the title aims to tell what is going on here and express emotions present in the artist's mind while creating. It should arouse healthy curiosity. I'm counting on viewers who have the patience and self-discipline to stay attentive and can draw their own conclusions. After all, one could see the same thing in many different ways.
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Over the centuries art has been used as a platform — sometimes even as a tool —not only to express ideas but also to communicate actual messages: do you think that Art could shed new light on specific themes, raising greater awareness on topical issues that affect our society?
I like to think of art more in terms of philosophy. In my view, these two concepts are inseparable. They both explore and reflects - that's all art needs to do. We don't have to invent additional art usage; otherwise, it will lose its timelessness and enigma and become a mundane, banally-political message about society's issues. Art has the most crucial ability to heal from humanity's most terrible disease - fossilization, callousness. I will say it with a quote from "Stalker" (my all-time favorite Tarkovsky's movie): "When a person is born, he is weak and flexible, and when he dies, he is strong and callous. When a tree grows, it is tender and flexible, and when it is dry and tough, it dies. So callousness and strength are companions of death. Weakness and flexibility - express the freshness of being."
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You are an established artist: your works have also been acquired by notable private collections worldwide and over your long career you have participated in a number of international exhibitions, including five solos, as your recent retrospective Beyond The Consequence of Time, at the Artios Gallery, New York, USA: how do you consider the nature of your relationship with your audience? By the way, as the move of Art from traditional gallery spaces to the street and especially to online platforms — as Instagram — increases, how would in your opinion change the relationship with a globalized audience?
My achievements wouldn't be possible without my family and friends, who have supported me all these years in my art research. Thank you all!
The feedback of the audience is critical to me. In that regard, an online presence allows me to meet various people from various backgrounds. Opinions may be different, but an interest itself in my art always inspires me. I was fortunate to communicate with some of them directly, and one of my favorite thing I was told is that my art touches something subtle in the soul, and the feeling of enjoyment replays and resonates in their mind long after.
So, obviously, online platforms are an excellent thing for connectivity and publicity. It may sound like a cliché, but you still have to work hard to be noticed - nothing comes easy. It may help if you keep in mind that you and your art are unique.
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We have really appreciated the multifaceted nature of your artistic research and before leaving this stimulating conversation we would like to thank you for chatting with us and for sharing your thoughts, Alexey. Where do you see your work going in the future? Any new direction you feel you might like to take your art?
It's my pleasure. I've really enjoyed answering such interesting questions. Thank you!
I've gotten interested in pure surrealistic art lately. So gradually, I started moving away from randomness. However, I still appreciate my abstract side and want to keep it with more excellent selectivity. It's been curious to develop a new style that's really different from my more oneiric one and get feedback. I was pleased to know that audience loved it. So, I may have a chance to surprise them with something new in the future.
March 29, 2021
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