Aeon

 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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Publication Website

VIVENCIAS PLÁSTICAS (goyovigil50): LA SOBERANÍA DEL ESPACIO

Las formas y los colores invitan a una contemplación y meditación sobre el misterio del tiempo y del espacio, ese misterio del Dasein que diría Heidegger, del ser que espera la revelación del artista que lo registra y lo exhibe.

En el caso de la obra del bielorruso ADONIN, se muestra la búsqueda de un descubrimiento sobre el significado de la pintura en relación con la visión interna del hombre, de su ubicación en un cosmos que sigue envolviéndole en el enigma de su ser.

La constelación cromática, muy pausada y circunscrita, da valor a unas formas que son como vestigios y evocaciones de ese universo que está engendrado fuera del tiempo o que se apropia de todo el momento de la existencia, de un renacer en cada instante y conforme a cada ensueño. (escrito por Gregorio Vigil-Escalera)

January 20, 2021

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Publication Website

ART LINK: Alexey Adonin | Artist

How would you describe yourself as a creative?

I like to think of myself as a person on a level beyond conventional that has the ability, with the help of art's tools, to dive into the most profound areas of consciousness— the preverbal spheres. I think I act as a mediator between reality and the otherworld. It allows me to gain intuitive freedom, a return to a spiritual source. Each new creation is a new and unique cognition experience.

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What inspires your art?

Everything that indicates us as spiritual creatures and the world as a mysterious place, where profound things are also present, enriches our soul. It's the core of my inspiration.

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How do you place a monetary value on your artwork?

I am merely looking at the similar artworks of my colleagues and trying to be reasonable. The art doesn't have a monetary value. Whatever you decide, it won't satisfy you. You can't count the quantity of creativity you have transferred into a canvas. So I stick on permanent price on pieces with similar dimensions. However, of course, there are always exceptions.

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What has been your favorite piece to create and why?

It is my latest one. I always strive to create a new piece better than the previous one. I would not engage in painting if I hadn't desire for perfection. Each work reminds me of a specific period in my life. There are some that I like most. However, I change my mind from time to time. But the latest one is the most relevant and therefore the most favorite.

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I've seen that you use Saatchi Art to sell your work – would you recommend this platform?

I do recommend Saatchi Art. It works best for me. However, that depends on many factors. For example, I heard some artists are unsatisfied with Saatchi Art, but many other platforms work best for them.

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What would you say to creatives out there struggling to find paid work and are feeling disheartened?

You're not alone! I do struggle with reality sometimes, too. However, I don't feel disheartened. You must understand that what you have today is the scenario that you deserve. Nothing happens just like that. Everything has its root, whatever you see it or not. The first thing to do is create the right attitude to everything before the mind tells you otherwise and drags you into trouble. Understand you cannot change how the world works, but you can change your attitude. Lastly and most importantly, people inspired by purpose are capable of much. So set ambitious goals in your life and persistently follow them!

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Your artwork has a distinct style – do you think it is essential to have a niche as an artist?

Definitely! I think the Artist should follow his unique path. He should develop his style through the prism of personal preferences, especially if he wants to devote his art research to those aspects of life that somehow reflect his inner world.

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What are you working on at the moment?

It is not clear even to me at the moment, so I cannot tell. The painting started as a theme relevant to some point in time, but as it often happens, it may become something else that I can't predict. However, I'm inspired by the beach. I made some sketches. Sometimes when you draw moving people, you do not keep up with their move, which leads to the unique development of lines and compositions. There was a big man that stood with his back to me. When I drew his torso, he noted me sketching him. He became shy and immediately left. So I stuck without his legs, but instead of drawing his legs out of imagination, I decided to make a special stand-like. I really loved how surreal it turned out.

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What are your next steps as a creative?

I want to start making oversized paintings as soon as possible. I have a lot of exciting ideas that should work great in large formats. Now, I'm searching for a bigger studio that will allow me to make these.

December 1, 2020

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✋ screenshot only / the site artlink.uk doesn't exist anymore.

THE FLUX REVIEW: Alexey Adonin – Q&A.

As an explorer of the mysterious universe of oil painting, Jerusalem-based abstract-surrealist artist Alexey Adonin, has dedicated over a decade to conveying his vision of hidden otherworldly realms connected with a timeless source of inspiration. Adonin was born in Slutsk, Belarus, in 1973. He graduated in 1993 from the Glebov State Art College, Minsk, Belarus. In the same year, he immigrated to Israel. Since 2002, Adonin has exhibited locally and internationally. His works have also been acquired by notable private collections worldwide.

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Self-taught or art school?

1989 – 1993 Glebov State Art College (Minsk, Belarus).

1982 – 1987 Children's School of Arts (Slutsk, Belarus).

If you could own one work of art what would it be?

The Melancholy of Departure by Giorgio De Chirico.

How would you describe your style?

My paintings are at the intersection of abstraction and surrealism. I stake on the limitless possibilities of our consciousness to penetrate distant and mysterious worlds in my work.  I strive to create a unique atmosphere of admiration and respect for the world as a whole. At the same time, I am keeping the viewer’s right to witness their own imagination power, which essentially makes the viewer into explorer. I see this as an opportunity of gaining intuitive freedom, a return to a spiritual source. My goal is to give the mind a half-open door to a hidden universe beyond clear boundaries and rules.

Can you tell us about your artistic process?

Everything happens as if by randomness. I can’t even know where the next idea will come from. I just want to create. It’s like hunger. I take the canvas, and I start working boldly. The search process begins right here. It is one of the most beloved stages in which I experiment with colors and lines necessary for the foundation on which something unique is developing. I always have been attracted to art because of its unpredictability. Its detachment from physical reality makes me curious. That’s why at the beginning, I always let things happen. Then, I take advantage of the human mind’s fantastic ability to find order in chaos—this ability allows me to discover the details.

Where’s your studio and what’s it like?

As a studio, I use one of the most oversized rooms in my flat—it is well equipped with all the crucial tools I need for the creation process.

Is narrative important within your work?

Yes, but not the kind you find in realistic artworks. I’m not interested in banal copying or narration of reality. There is nothing in it for me. I try to avoid imposed patterns.  I like to think of art as an enigma and want to keep it that way. I  devote my work to those aspects of life to which somehow reflect my inner world. It tends toward mysticism. I offer something that reaches your inner self and gives you ultra-vision to wander in other worlds.

Who are your favourite artists and why?

Vincent van Gogh
Wassily Kandinsky
Kazimir Malevich
Pablo Picasso
Giorgio de Chirico
Francis Bacon
Salvador Dalí
Pavel Filonov
Max Ernst
Yves Tanguy

I admire those artists mainly because of their ability to stand out—create new things against dogmas.

What or who inspires your art?

I have always been inspired by my ability to recognize different states within myself and transform the most interesting of them onto canvas. I guess I like acting as a  mediator between reality and the divine – observing, studying, and revising creation itself. I can use my sense of beauty to show important  messages from under the “curtain.”

Do you have any studio rituals?

Not that I call rituals, but I do not need too much presence of someone nearby. I work alone. I think loneliness is my unique, conscious, and self-sufficient state of mind.  Maybe also the right music? It has an essential role in immersion into the process.

What are you working on currently?

My creative search is carried out by the principle of a “journey – discovery,” and I never know what awaits me at the end of this voyage. However, I know how and when work requires a  lot of inspirational power. The painting started as a theme relevant to some point in time, but it has become something else, like something that I couldn’t predict as it advances further. Right now, it is not clear even to me, so I can not tell.

Where can we buy your art?

Saatchi Art

Singulart

Artmajeur

Artrepreneur

Etsy

Artios Gallery

Or you can contact me directly via my website:
Alexey Adonin Art

October 30, 2020

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Publication Website

CHAMBRE FLUIDE MAGAZINE: An interview with Alexey Adonin.

One microscopic point shines,
then another, then another: it is the imperceptible, it is the enormous.
This small light is a focus, a star, a sun, a universe;
but this universe is nothing.
Each number is a zero in front of infinity.
The inaccessible united with the impenetrable, the impenetrable
united with the inexpressible, the inexpressible united with the immeasurable: it's the sky.

Victor Hugo

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Chambre Fluide: Hello, Alexey! Let's start talking about yourself and your passion for art. How did it all start?

Alexey Adonin: Hello! As an artist's son, I have always breathed art since childhood. Everything started when I was eight years old. I think It was the portrait of my grandpa when I got recognition from my parents for the first time. I was able to reproduce people's facial features with good precision. Since my father practiced teaching at the Children's Art School, I started attending drawing classes combining my regular high school studies.

I was born in Slutsk, Belarus, in 1973. At 11, I began interested in history, chemistry, astrology. It was always a celebration when I came across some articles about mysterious events, especially UFOs! I subscribed to the mailing lists of popular Soviet scientific magazines such as "Technology for the Youth" and "Science and Life."

I remember being obsessed with the concept of a perfect society. I've enjoyed thinking and imagining what the future should be like, where every piece of technology would be used very smartly and wouldn't pollute nature. So I loved nature and was inspired by it, conveying my thoughts on paper by making sketches of future scapes and interaction schemes of ecologically friendly manufacture. I was also passionate about discovering new lands and drew maps of imagined countries with strange names.

Science fiction held a special place in my heart. I regularly read famous Soviet-Russian and international science fiction writers, such as the Strugatsky brothers, Alexander Belyaev, Ivan Yefremov, Stanisław Lem, Jules Verne, Ray Bradbury, Isaac Asimov, H. G. Wells, Arthur C. Clarke, and many others. All of this subsequently shaped my art style.

During historical events in the USSR, I began my study at the Glebov State Art College, and I moved to Minsk, the capital city of Belarus. It was 1989. The wind of change was already blowing very strongly. But this is already another story.

Chambre Fluide: A question I can't help but ask you, since you are a Belarusian of origin but outside your motherland. After years of apparent tranquillity, Minsk returns to the center of the international scene. Protesters and police clashed hard in the Belarusian capital and other cities after a state T.V. poll revealed, before the vote closed, that the historic leader Alexander Lukashenko, 26 years in power since 1994, "had been re-elected" in the last elections. So what's your position about that current social-political situation?

Alexey Adonin: I am not very interested in politics, but since Belarus is my homeland, I can't remain indifferent in Belarus's case. When I watch reports, I recognize these streets, I once walked as a student, and I feel very close to someone who is now struggling. You can't agree with all this blatant lie from the authorities. Also, beating up civilians is an action, after which there can no longer be a return to the previous "tranquillity." Belarusian mostly is law-abiding and peaceful people, and they have put up with this despot since 1994. So I think they had enough of it! They deserve a better life!

Chambre Fluide: Looking at your story In 1993, you graduated from the Minsk Art College, and then you moved to Jerusalem where you currently live. What's your relationship with Israel as your country now and the Judaism culture?

Alexey Adonin: In the early 90s, my family and I had the opportunity to immigrate to Israel. The USSR was falling apart and rapidly flying into the abyss, along with people who lived in the former empire's vastness. Therefore, we decided to leave. Integration into another country is a complicated and lengthy process, but in the end, we found the desired calmness and stability in Israel. I am grateful to this country for the shelter they have provided. I came here very young; then, I served in the Israeli army. I found love, and I have a son now. This country is my home now. However, I have never been a patriot of any nation or state. I think humanity is one cult, and borders should disappear in the future as a strange phenomenon. People should stop being at enmity and dividing themselves on any grounds.

Regarding the Jewish culture, I found it knowledgeable and rich in traditions. I studied the philosophy of various Eastern cultures, such as Buddhism, Hinduism, Taoism, but I always stayed away from immersing in any of them too deeply. There is no need for me to classify myself as belonging to any religious or ethnic camp. My mom is Jewish, and my dad is Russian. So they raised me on internationalism and equality principles. So in my view, focusing on your ethnicity is not a healthy trend. Moreover, it causes concern because such self-fixation often turns into extremism, inciting ethnic hatred. So I think creativity, self-improvement, and spirituality enrich a person. So this is what I focus on in this life.

Chambre Fluide: What are your idols?

Alexey Adonin: I don't have any idols. We are witnessing how today's mass pop culture imposes standards, which we are supposed to follow. It attempts to lead us away from personal goals and program us for third-party ones. It is probably beneficial to have a gray and obedient mass. I firmly think Idolism is psychological addiction that speaks of a dependent, unformed and impoverished personality.

Chambre Fluide: What importance does the drawing have to you? Tell us more about Zenith and the series of Futurescape. What do you tell?

Alexey Adonin: Drawing is my most time-tested self-expression tool. For me, drawing is akin to meditation or lucid dreaming. However, it is not a desire to escape reality. Instead, it is more of a mental ascent to the sublime, and this is how I like it. I am often motivated to start another picture to plunge into this insightful state.

"Zenith" and series "Futurescape" are like all my drawings and began without a preconceived idea. I applied a few large spots with ink, which served as a starting point for further detailing. It is seemingly random, but our brain is a terrific machine that uses familiar patterns. It always substitutes them as stencils with everyday objects we know. Remember the rather famous case of a "Face on Mars," which began to look like an ordinary hill after it was rephotographed in different lighting? I use this brain property broadly, but I control which stencil to substitute. It's about avoiding ambiguous interpretations of some objects and deliberately creating different meanings in others. Thus, the brain can interpret the same thing differently in different states. The unclarity and desire to understand the unknown is food for the mind.

"Zenith," to some extent, is a classic example of multilevel work when one picture consists of a multitude of small ones. It's akin to a book with multiple chapters. Only here, they all fit on one sheet. Also, there is a similarity to advertising posters for films, that a many-hour movie story tells us through visual inserts. "Zenith" is an excellent illustration of an unpublished sci-fi book.

The issues I investigate always cover the following topics: humanity's future, the possible development of technology, human exploration of other worlds, and contact with other more advanced civilizations. However, recently I have been more interested in the topics of the inner space of a human. How and when do we make our choices? What drives life in this world? What is divinity? And many more.

Chambre Fluide: You have for sure a wide culture in Russian Literature, not only for being Belarusian but also for the fact that you are also a writer; during the Soviet dictatorship, in a historical period of censorship, I think about the Samizdat and artists, poets who, in order to circulate culture, even risked to be tortured and killed, went on in their fight. Nothing so far nowadays; think about the tortures perpetrated in Belarus and in other places even closer to you, how not to mention what is happening in a less "public" way in the West Bank...and not to mention Lebanon. And we could move on. Today is there still this desire to share culture and knowledge and our rights? Would one lose one's life in order to circulate one's works and writings? Would you die for your ideal?

Alexey Adonin: If we look at the whole picture of what is happening in a historical context and move away from today's specific "hot" spots, we will see that history repeats itself. Just as before, others are doing it today. Nothing new is happening in this world, only the different roles of each player. The methods of enslaving and killing people are becoming more sophisticated. The military firstly developed almost every new technology—that is saying a lot! So humanity reminds me of a giant anthill that someone is continually stepping on.

It is not worth spending your life improving or changing the surrounding reality. All this is tinsel that you couldn't profoundly impact on! No one should sacrifice himself for the nation, country ideas, or whatsoever. The most important is to develop your personality, talents and be a good man.

Chambre Fluide: What good is the artist giving to the world and society now besides a retrospective of a personal and inner state of mind? What do you think the role of the artist is now?

Alexey Adonin: Science and technology have not brought us closer to understanding why we are here and/what is behind the "curtain." In my view, too-logical things isolate and separate us from the essence. I think we are spiritual creatures. The questions we ask often are not practical because humans are alive, not only with daily tasks. On the contrary, there is something beyond that. But, except for some general phrases, the majority cannot say what it is. It is a great mystery. I think the artist acts as a mediator between reality and the divine. Artist is passionately devoted to its mission—to observe and rearrange the creation itself. He uses his sense of beauty to show the critical messages from the "curtain."

Chambre Fluide: What are you reading?

Alexey Adonin: Hermann Hesse "The Glass Bead Game."

Chambre Fluide: How does your research develop? Where do you collect your inspiration from?

Alexey Adonin: Everything happens as if by randomness. I can't even know where the next idea will come from. I just want to create. It's like hunger. I take the canvas, and I start working boldly. It doesn't matter whether it will be oil painting without preconceived ideas, artwork based on a previously created sketch/drawing, or just drawing on paper with ink. The search process begins right here. It is one of the most beloved stages in which I experiment with colors and lines necessary for the foundation of something unique. I always have been attracted to art because of its unpredictability. Its detachment from physical reality makes me curious. That's why at the beginning, I always let things happen. Inspiration is an impulse on the level of metaphysics of being. I think this is some response from the sublime. It's too elusive to control.

Chambre Fluide: In your work there emerges a melancholy veil, an incompleteness perhaps. As if you could not decipher reality. You call it Mystery. What is this incompleteness hidden by your work?

Alexey Adonin: My work is also something very personal. I like it to be with exceptional taste. I always create through the prism of uniqueness. Often, this happens unattended or even looking at the likelihood of being misunderstood by others.  Melancholy is one of my character traits, and it gives a bit of seriousness, tells a little bit more about what you are dealing with here. The same goes for unsaid or incompleteness which means mystery. The viewer is immersed in the process of watching because it's impossible to understand and fully appreciate it immediately. There is always something new to find that was not noticed before. My style took shape over the years and continues to shape today, creating a unique ambiance. I'm not interested in banal copying of reality. There is nothing in it for me. In my work, I offer something that reaches your inner self and gives you ultra-vision to wander in other worlds.

Chambre Fluide: Reading your background, it is noted that after graduation and your education in the art field, you waited nine years before starting your art career again. Why this "silence," and why did you decide to return to paint?

Alexey Adonin: Integration into another country is a complex and lengthy process, but It not what stops my creativity. There was a much more significant reason. The truth is that after graduating from my studies, I already had some practical base but lacked life experience, and a vast hole has formed between these two. On the one hand, I wanted to draw, but on the other hand, I always approached art very seriously and did not want to make something too banal. I always have been concerned about "what to draw" no less than "how to draw." So I pushed art into the background for better times. But somehow, it didn't bother me at all. After all, I was so much carried away by the new life!

When the dust settled in 2002, everything happened by accident. I had a job where I had plenty of time to devote myself to drawing. I started with sketching. I liked how it turned out. Soon after a couple of years in 2004, I painted my first oil painting for many years of hiatus, which, symbolically enough, was called in Latin "Through The Thorns To Stars."

Chambre Fluide: In a historical moment when nothing seems to be enough anymore, and the future is more and more uncertain, what are we holding on to? What tears us out of nowhere? What does it mean to live intensely the real in this provocative historical period?

Alexey Adonin: The main thing is not to indulge in numerous provocations and recognize them. Second, understand that what is happening cannot be changed. However, you can change your attitude towards it. Previously, people, one nation or country, held ideas and goals that today no longer impact. People inspired by purpose are capable of much. I think each person individually has to set goals.

Life is such a short thing; let's live it right and in peace!

September 18, 2020

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TALL SEQUOIA GALLERY:

CONGRATULATIONS to our 3rd Place winner within the Traditional Art category - Alexey Adonin from Israel!

His winning artwork "Psychedelic Forest" is an amazing abstraction of reality that has resulted in the creation of a fully surrealistic world that is so complex that you will find yourself looking at it again and again, discovering new things each time you do so! Read Alexey's feature article on our website and see what's driving this unusual style in Alexey's works.

Juror’s Feedback: I think the style in which you abstracted nature is very clever. The colours are fresh and the combinations are strong. Good composition and great detail!

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3rd Place Award Winner – Alexey Adonin, Israel
• Traditional Art Category •

Alexey Adonin from Israel takes 3rd place in our “Ordinary No-Ordinary” art & photography exhibition with his oil painting “Psychedelic Forest”! This award comes in addition to Alexey’s 2nd Place win in our recently held “Summer & Flowers” exhibition! The Unique artistic style of Alexey Adonin can be recognized from afar and without effort! His amazing ability to abstract reality and arrange elements in intricately interwoven patterns creates an absolutely surrealistic world on his canvas. The viewer is drawn to Alexey’s works again and again because it’s not possible to understand and fully appreciate their complexity immediately – there is always something new to find that was not noticed before!

August 9, 2020

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ARTIOS GALLERY:

• from the solo exhibition •
BEYOND THE CONSEQUENCE OF TIME (2005-2020)
July 27 - August 23, 2020

Intro

Artios Gallery is excited to present a retrospective of works by Alexey Adonin, a Jerusalem-based abstract-surrealist artist. His works have been showcased locally and internationally and are held in private collections around the world.

Alexey uses a unique and beautiful technique in which he layers oil paints solely on top of one another to create a mystical, transparent look.

Alexey's philosophy stems from the idea that one's reality is made up of what one believes it to be. He uses his art as a platform to express his profound ideas about reality, humanity, and their intertwined behaviors. Describing one of his recent pieces, Alexey said, "The power of art has many manifestations that (are) expressed through the canvas." The exhibition traces the progression of the artist's journey from his earlier series Free Form to his latest titled Beyond The Consequence Of Time and New Age.

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THE EARLY WORKS
2005-2015

In one of his earlier series, called Free Form (2004-2008), Alexey began exploring shapes and shades. The works in this period are characterized by intricate, visually appealing patterns, creating surreal landscapes that are dynamic and bursting with colors. “In the abstract universe, there are no limits to the extent to which we can change the structure of reality,” said the artist.

Perception of reality by humans, their individual and collective ability to create something out of nothing, the power of the human mind, and the world’s interconnectedness – all these themes are investigated in-depth.

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Beyond the Consequence of Time and New Age
2015-2020

These later series reflect Alexey’s progression and maturity as an artist. Alexey’s distinctive style is more developed, and his interest in abstract and surreal themes is continuously evident. Beyond the Consequence of Time explores the idea of imagination as a creative force that guides and drives all human activity. Describing this series Alexey states, “Man lives in this world he created, in the world of spiral meanings, color values, equalized contexts, and mythological symbols.”

New Age is a contemplative body of works that introduces the unifying subject of Water as a mechanism for self-reflection, purification, and regeneration. According to the artist, it is “a collection of spiritually oriented works.” Spirituality as a journey of self-observation, despair, and acceptance helps one achieve a higher level of emotional experiences. It could open one up to new levels of consciousness and perception of the world.  The titles of works such as “Solace in Solitude,” or “Objects in A State of Consciousness” give the viewer a hint to underlying the meaning of the images.

July 27, 2020

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Publication Website

TALL SEQUOIA GALLERY:

2nd Place Award Winner – Alexey Adonin, Israel
• Traditional Art Category •

Abstract oil painting “Shore of Fancies” by Alexey Adonin of Israel which is presented in our “Summer & Flowers” Art & Photography  Exhibition took the 2nd Place Award in Traditional Art Category.

Juror’s Feedback: Unique abstract composition. Love the beach and creative shapes in this painting.

Alexey’s work is a perfect example of abstraction with compelling design, composition, and colour. Beautifully arranged elements of various sizes and shapes organized into unthinkable arrangements create a  truly unique landscape on which the eye of the viewer freely travels trying to discover the intricacies of this work. Thus the viewer’s interpretation is open to their own perceptions and filters not bound by any constraints whatsoever.

July 2, 2020

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ARTSY SHARK: Featured Artist Alexey Adonin.

Dreamlike oil paintings by Alexey Adonin flow with light and color, unveiling the world beneath reality. Visit his website to learn more about this fascinating artist.

I believe that art is not only a way to express ourselves but also a unique key to unlocking the knowledge of the hidden world. From a very young age, I sought to explore this unseen realm, relying on my intuition to find the answers I sought. Although I am mostly interested in something more exalted, I love nature and hiking. Solitude with nature helps me gain solace that allows me to convey my thoughts on canvas with stronger confidence. I approach my work without preconception, allowing spontaneous things to happen at the very first. This method is what shapes the main composition at the initial stage. Finally, I take advantage of the fantastic ability of the human mind to find order in chaos—this ability lets me discover the details. I mostly strive to get away from banal copying of reality, preferring instead to create one of my own—something that somehow reflects my inner world. Life is an enigma that does not have any logical explanation. I try to apply a more philosophical approach and hint at the mystical origin of all things in my creative endeavor. I don’t work with computers or image sources—everything is created “through imagination” to reach a broader sensibility and greater satisfaction. My work refers to the notions of preexisting ideas, knowledge, and beliefs present in my mind, something that I’m born with rather than something I have learned through experience. It’s a memory beyond the consequence of time—a creative look at the processes that happen underneath our reality. I want to explore it from a slightly different angle. In the end, however, I hope that those who view my work may participate in the creative process—perceiving the painting only as a foundation that waits for their minds to draw upon it any picture they want. (written by Alexey Adonin for Artsy Shark)

May 17, 2019

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HISTORIA DE LA PLÁSTICA (vigilcanosa): LAS PUERTAS ESTÁN ABIERTAS

El israelita Alexey Adonin hace que la pintura sea un enigma, pues tiene esa intuición para escenificar unas obras en las que la luz, sea pálida o acentuada, esconde al mismo tiempo que enseña una clave que está dentro de una realidad cuya contextura cromática la idealiza.

 Las cualidades sensoriales del color son en sí mismas inseparables y osmóticas, y recubren la forma de esos paisajes inescrutables como si fueran el lugar del oráculo, en cuyo interior se lleva a cabo el mismo y al que muy pocos tienen acceso. 

Creo que fue Adorno el que aseguraba que la noción más adecuada para captar la esencia del arte desde un punto de vista cognitivo es la de enigma. Pues en esta labor hay uno y no se dispone a abandonar esta misión. (escrito por Gregorio Vigil-Escalera)

May 17, 2018

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Publication Website

ARTE-NOVUS: Alexey Adonin

Alexey Adonin is an artist with a free-flowing brush and mesmerizing colors who will take you on a fanciful journey through the universe in Tarkovsky-like surroundings. With a clear sense of color and skillfulness, Adonin lets his inner imagination take over and allows his paintings to evolve into abstract creations freely. Adonin’s work includes different styles and genres, from contouring lines and color blocking - leading one’s thoughts towards a forgotten animated era - to Turneresque landscapes in an astral setting with a hint of sci-fi. (written by Natascha Degnova)

April 25, 2016

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UGALLERY: ALEXEY ADONIN Jerusalem, Israel

Alexey Adonin’s paintings are at the intersection of abstraction and surrealism. The layered shapes of color ambiguously represent landscapes and castle-like structures, which appear isolated and far off into the distance, as if we are staring at a mirage that could disappear at any moment. His work projects an inherent tension, with a clear center point in each painting around which every element revolves and impels from. The sense of remoteness and apprehension in work is undoubtedly influenced by his experience as an immigrant, and the political and religious tension he lives with, in Jerusalem. Many of his paintings are inspired by his interest in philosophy and the universal forces that sublimely push and pull us along. He approaches his work without preconception and allows his unconscious mind to direct the formation of his surreal landscapes. As he puts it, “painting should walk through a sort of evolution, like a child who grows up.” (written by Camilla Houston)

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ARTIST STATEMENT

My work style is mostly abstract, with a definite hint of figuration or more commonly landscape. Various colors and narrative structures, from sublime to extreme, coexist in a neutral and often isolated space. I encourage the things to appear in the form of subtle reality, which makes them perceived without the hard constraints of realism, as immanent. In my paintings, items may appear up close, yet it has the properties that only distant objects are sharing. My timeless source of inspiration is the full-time illusions, mostly the horizon. It appears a perfect portal to the unconscious mind. (written by Alexey Adonin for UGALLERY)

April 19, 2016

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Publication Website

MORRAL OF THE STORY: Artist of the Week: Alexey Adonin

As I sat in a coffee shop earlier this week thinking of a new artist that could highlight this week, I came across artist Alexey Adonin. I was immediately awestruck at the way that Adonin uses his pieces to allow the viewer to see what they want to see. His images take on a life of their own from what he is able to envision, and the results are nothing short of extraordinary. From Jerusalem, Israel, Adonin uses his incredible painting talents to captivate the eyes of anyone who views his work. His art is truly mesmerizing through every oil paint stroke on canvas he makes. The varying hues and undertones present in his pieces makes it easy to stare at for a rather long time. With nothing too vibrant or too soft, his palette conveys the perfect color scheme in his pieces. Each color works together to make something so intricately beautiful and unique. From what I've seen in his work, Adonin creates an escape from reality in his abstract techniques. I can't help but create stories in my mind and imagine different things from what Adonin is able to bring to life. (written by Caitlyn Morral)

November 13, 2015

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SAATCHI ONLINE INTERVIEWS: From The Studio Of…Painter, Alexey Adonin

Favorite material to work with?
Oil paints. I have never felt more comfortable with any other material.

What themes do you pursue? 
Early in my life, my father instilled in me a love for nature by taking me on weekend trips. We’ve traveled far away from the city to the rivers and forests, distant lakes. I was amused by the horizon, watching its mystic mirages, and somehow felt an attachment to this beautiful scenery. Nature is a religious thing to me. It has nothing to do with the ordinary, always is mysterious and full of secrets, and is a holy place. So everything that I have ever come up with has its origins there.

But for me, it wasn’t enough - to copy what you’ve seen. Everything should walk through the prism of imagination, and it should stay above all other rules of artistic logic. For instance, I thought about what the world might look like if I was an alien being. Would I see it as a human, or would it be something completely different?

I love to be in the middle of nowhere, lying alone in the field, listening to silence, and observing the early morning fog surrounding me. And when I’m coming home, I’m trying to apply those glimpses of memory on canvas. The series called “Destination Beyond” is a real successor of my early life experiences and logical continuance of my thoughts about nature and how human integrates into it. It has a more mystic atmosphere than everything I’ve created before. 

Though I don’t consider myself religious in its traditional way, I find everything related to it fascinating. My recent efforts are a series of works that deal with the psychological aspect of a human being: religion and beliefs, love and sex, psychedelic experiences. It has a little bit different approach, a more personal touch. 

I believe dreaming and imagination are essential parts of my life because the ultimate goal of an artist is to transform his vision to the viewer, making the viewer empathize with the artist. When I paint, the mind is revealing something by creating the worlds that don’t exist. And what could be more exciting than discovering new worlds? 

How many years as an artist?
I’ve drawn from childhood, but there was a long (10 years) pause. I am glad to be back after such a long period. Since then, I haven’t stopped.

Sketchbook? Do you use one? What type?
Over the past years, I’ve made a significant amount of drawings. Some of them turned out to be fully completed graphic works, and others are very minimalistic. They are useful as they are (in their simplicity). They shouldn’t necessarily become a large-scale work. Very little from my sketches eventually made its way into the canvas and, if it did - only partially. I think painting should walk through a sort of evolution in real-time. It’s a child born from the symbiosis of feeling and spirit. A preconceived idea often kills this free transformation. I don’t know in what direction it will go. The process is largely-intuitive - a voyage of discovery - which is how I like it.

Where is your studio?
I use a little corner in my room as a workplace.

Why do you make art?
I like the constant search process, bringing fleeting thoughts to the light - experimenting and mixing things.

Art school or self-taught?
I studied at the art school for children and later at the Arts College.

Prefer to work with music or in silence?
I listen to music when I can. I wish I could have more heads for listening to different records at the same time.

iTunes, spotify, records?
Records! Only quality music! No mp3!

Favorite sound? 
Ambient electronic music, especially from the mid-’80s.

What’s around the corner from your place? 
A valley with sounds of birds. It’s often under the dense fog in the morning—one of my favorite inspirational places.

Who are your favorite writers?
Nikolai Berdyaev, Vladimir Solovyov, Alexander Belyayev, Arkady and Boris Strugatsky.

If you couldn’t be an artist, what would you do?
I probably would be a musician—a multi-instrumentalist.

Would you rather be able to make a living as an artist now or become famous after you die?
It’s quite obvious; I would like to make a living as an artist now. However, there is nothing wrong with the second statement too.

What do you collect? 
My favorite music records, running out of place already.

Use anything other than paint? 
I recall I have used degreaser for my work, “Randevu.” Very stinky stuff. Onetime experiment.

Representational or Surreal?
Surreal with elements of abstract.

Is painting dead? 
It’s not. No computer software can compare to this living and breathing handmade product.

Painting Inside or Outside? 
Inside. I love a comfortable, warm place to work in.

July 9, 2012

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Publication Website

BLUECANVAS: ALEXEY ADONIN Jerusalem, Israel

Painter Alexey Adonin, originally from Slutsk, Belarus, graduated from the Arts College of Minsk’s Graphic program in 1993, at which point he relocated to Israel. With his loyalty to imagination over other rules of artistic logic, his paintings begin with a single line and then take on vivid lives of their own as landscapes in which viewers can lose themselves. Adonin strives to create works that allow for free-form exploration in an abstract universe without the hard constraints of realism. Rather than beginning with a preconceived idea of a painting's final form, the soundtracks he chooses while creating each piece determine the end results, allowing for free-form evolution.

August 24, 2009

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THE ART OUT THERE: Alexey Adonin

One of my rare abstract entries is by an artist originally from Belarus and now residing in Jerusalem. There's a resemblance to abstract science fiction illustrations from the 1960s (like Robert Powers) that immediately appealed to me. I do not think the similarity can be accidental as there is a distinct homage to science fiction in some of his work as in "Red Planet" above. While the images are essentially abstract and are, according to the artist, created without any preconception, there is always a strong hint of figuration or more commonly landscape. He builds up layers using a variety of techniques with large windows in each so that the final image is a kind of collage of textures. (written by David Carmack Lewis)

June 9, 2011

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«ВЕСТИ-ИЕРУСАЛИМ»:
• from the solo exhibition announcement •

For many lovers of fine art, a small exhibition of works by the young artist Alexey Adonin deployed on the gallery of the “Теэна״ Society at st. King George 6, 2nd floor, will be a pleasant surprise. It presents his graphic fantasies, made by the confident hand of a talented person. Alexey tells about the world, which he sees and deeply feels. Something will probably resonate with the viewer, or may it not, but in any case, these pieces amaze with the accuracy of every detail, the precision of every hatch. The first exhibition of Alexey Adonin testifies to his significant creative potential and desire to find his own artistic path. It remains to wish him good luck!

☛ Visit exhibition gallery

October 24, 2002

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Publication Website (Israeli Russian-language daily newspaper)