Alexey Adonin has exhibited extensively internationally including in countries such as the Netherlands, France, Germany, the United States, Israel, Spain, the United Kingdom, Ireland, and Canada. He describes himself as an abstract, surrealist, and symbolist oil painter. Notable exhibitions in New York City include a solo exhibition retrospective at Artios Gallery and shows at the Museum of Wild and Newfangled Art, New York Artists Equity Association, Ikonospace, and Toula Gallery. Alexey has been featured in over 120 publications. He has been presented on Inside the Studio on Saatchi Art, published in their curated collections, participated in The Other Art Fair, and has over 1300 subscribed followers on the platform. His work remains in private collections all over the world.

Alexey’s paintings reflect his hobbies and interests which include science fiction literature, history, biology, paleontology, geography, and astronomy. His confusing paintings are in the tradition of Joan Miró’s abstracted surrealism but with a contemporary and futuristic aesthetic. The avant-garde paintings reflect ahead of our time in an almost extraterrestrial fashion. Alexey’s fascination with science fiction becomes apparent in these works of intricate shapes, detailed lines, and lucid colors.

Because of the perplexing nature and form of the paintings they may be viewed as difficult to interpret. One painting which may be somewhat easier to understand would be Something to Remember, a thoroughly mysterious work which contains his signature empty composition within a quarter of the surface followed by intricate detailed structure throughout the rest of the space. The shapes in the painting are either in spheres or prolate spheroids. The final one third of the painting to the right appears to be an extraterrestrial landscape while the center of the painting contains what appears to be a platform with organic shapes and figure-like sculptures. The intricate sphere in the sky could be a moon or star from an unknown solar system. The sculptured figures appear to be spread out along a platform overlooking the strange landscape almost like a monument. Followed with birds and flowers, perhaps a representation of an intergalactic government council? Who knows? For all we know, the interpretation could be far off from the artists’ intent. However, if we try to break down the painting from a purely fine art perspective, we may appreciate the diamond composition and blending of bright colors with neutral tones.

Alexei’s more abstracted works may not intentionally be complete abstractions, however they may be appreciated as such. The paintings are probably easier to reflect upon and understand if not trying to identify objects or representation within them. Paintings like After the Rain offer an insight into elements of design. Unlike most of his other paintings After the Rain has lower contrast, less defined linear qualities, and scratchy brushwork. The controlled randomness and lack of repetitive form creates a work which can be seen as meditative yet intellectual. The color palette remains interesting with subdued neon blues and greens gradually integrating into earthy tones, yellows, and whites. Dissimilar to other works, the painting lacks the signature organic-like forms and even contains a little bit of fixed geometry and a simpler upside down T composition.

Alexei Adonin’s works are intellectually stimulating, containing hyper-sensitive fluctuations of variation. With a resume a mile long and a vast body of work of highly advanced mysterious works, his legacy will stand the test of time. As we study how his work has developed over the past couple of decades, we should take note of how much further Alexei plans on developing these complex compositions. (written by Michael Hanna)

In its Exploring the Four Elements: Air Open Call Art Competition, Artrepreneur asked its members to render the concept of air in art. And while the curators were excited to see how artists interpreted this idea, they could not have anticipated the richness of air itself. How can we capture what cannot be seen? As it turns out, this seemingly esoteric idea has a vast reach. From life above the clouds to imaginary landscapes, the works captured beautifully what we all experience constantly but neglect to identify consciously.

Alexey Adonin pays homage to the fantastical in his beautifully executed and prize-winning work “The Brightest Star,” creating an otherworldly atmosphere that supports new life forms. Although we cannot see it, the evidence suggests that air has become a sort of fiction: what new composition of gasses exists here? Are humans welcome, or can we only dream of this new environment from afar? What was once familiar is transformed into the fantastic in Alexey’s envisioning of another planet. Our earthly sense of atmosphere is shattered, and strange new flora abound in this mythical painting. Adonin and the other selected artists in this competition, whether consciously or unconsciously, honor a longstanding tradition by exploring the importance and influence of air in art. (written by Kate Kelly)

Roadside Picnic tells the story of Earth after extraterrestrial contact. The aliens arrive without much fanfare, leaving behind toxic but useful refuse for human scavengers—called “stalkers”—to collect and sell on the black market. It’s a different sort of first-contact story, one that spoofs evil and benevolent alien tropes in equal measure; here, the aliens are merely indifferent. For those who grew up on the campy bravado of Independence Day and the paranoid terror of Invasion of the Body Snatchers, it’s a shock—this isn’t at all how we envisioned it, either.

For Adonin, the ambiguity works. His luminescent works illustrate eerily familiar landscapes populated by futuristic societies with their own rules, customs, and rituals. Some works are entirely abstract, while others suggest clandestine ceremonies carried out by oracles or high priests. There’s an illusory quality to Adonin’s work as if the transparent layers of paint could collapse in on themselves and dissolve into nothingness at any moment. Like the protagonists of Roadside Picnic, we’re left in the dark, unable to understand the alien landscape before our eyes.

After Andrei Tarkovsky adapted the novel for his 1979 film Stalker, the titular word became shorthand in the Soviet Union for a person who navigates forbidden or uncharted territories. In Adonin’s work, the viewer steps into the role of a stalker, hopelessly puzzling over cryptic artifacts that belong to another world. It’s a riddle that can’t be solved, but Adonin doesn’t care much for answers, anyway. His works unlock knowledge not with logic, but by walking straight into the unknown with open eyes and a quick pace.

In Today’s Q+Art Interview…

Alexey Adonin discusses how science fiction came to influence his work, the pleasures of ambient electronic music, and keeping cool in a crisis.

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Which books, art-related or otherwise, belong on every artist’s shelf?

Alexey Adonin: Roadside Picnic by the Strugatsky brothers. Science fiction holds a special place in my heart. I remember being obsessed with it in childhood so much. Though I expanded my range of interests when I grew up, I still refer to it as the core of my inspiration—where it all started for me. So from time to time, I peek at some of my favorite pieces.

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If you could have dinner with any artist, living or dead, who would it be?

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AA: I would love to have dinner with Pavel Filonov or Max Ernst.

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What are you trying to express with your art?

AA: I explore the point of convergence between abstraction and surrealism to create a channel of communication between my inner world and the viewers, not only to share my personal vision but also and especially to invite viewers to elaborate their personal interpretations and narratives, establishing deep involvement both in the emotional aspect and in the intellectual one. Moreover, I use a technique that layers oil paints to create a mystical, transparent look, reminding the viewer of the classical school of painting and highlighting the importance of the act of looking.

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Would you work for free in exchange for exposure?

AA: It depends. As long as I have a day job, I would allow myself such "pleasure," in some cases. However, in the long term, definitely not. Some galleries practice demanding exclusive rights for selling the artworks in exchange for exposure. Moreover, they often require to create artworks only for them without any commitments from their end. I stopped agreeing to that. They don't give you the chance to sell your own artwork in other places, which is unfair.

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What person has most influenced your work?

AA: Everyone around me, one way or another, influenced my work but not directly. I don't have any idols or muses. It's my inner world that influences my direction, which I follow. We are witnessing how today's mass pop culture imposes dogmas that attempt to lead us away from personal achievements. I firmly 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 is your favorite guilty pleasure?

AA: A piece of electronic, ambient music. I love listening to records while working on a painting, or I go for a walk. It's a soundtrack to my creative process and my life as a whole.

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What do you consider your greatest artistic achievement?

AA: It's my unique style I developed and how it reflects my inner self. It's inspiring me to continue my work and gives my life a specific sense. The awards and recognition are just consequences of it.

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What is the best advice you’ve ever received?

AA: This advice is a real story from my grandpa, who went through World War II and got awarded many times, and it's about a situation that bears all the hidden fears and shows how to resist them. There was great chaos in the first months of the war. While one of the heavy shelling, my grandpa was in his trench, the others soldiers in theirs too. As the bombardment lasted for quite a long time, accompanied by an earth-shaking and terrible noise, many soldiers panicked and often ran from trench to trench. They thought that it might save them, but in fact, it cost some of their lives. My grandpa stayed saved because of his ability to stay calm, whatever happens. He didn't panic, nor did he run anywhere from his trench. This is a lesson, something that we must cultivate in ourselves, not in this specific situation of war, but a life approach as a whole.

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Is a formal art education worth the money?

AA: Well, my formal education was in the Soviet Union, and it didn't cost any money. Anyway, it was worth it! It helped me develop my artistic skills and gave me a large practical base that I appreciate much till today.

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Would you rather be a historically significant or commercially successful artist?

AA: I want to create and try to make a living, and I want all these today, not in some historical terms. I don't care if I will be significant or not after I leave. I have no expectations for anything. I try to be as realistic as possible.

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How has the coronavirus pandemic affected your practice?

AA: I always try to find pluses in anything. I must say, after a while, I began to enjoy the lockdown situation as long as I had a chance to go for a walk in nature. I love silence and breathing fresh air, especially when there is no traffic or any significant noisy human activity. Also, if you think of it more in terms of philosophy, the circumscribed world gives value to things generated out of time. There were moments of clarity that I implemented in my art practice.

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What are you working on that you’re excited about right now?

AA: I'm working on a commissioned piece. It's about a still point of the in-between, somewhere out of this world located a mysterious place of neither body nor spirit, what might have been and what has been. And I cannot say how long this place exists, but I can find a sense of stillness and peace there, even as this place beyond the mind's capability trying to define and comprehend it. The client chose one of my drawings to embody in color. She also chose which colors to apply. I have had many interesting ideas appear when creating it, whether on a notion or a technical level. It's in the final stage, so I may have a chance to surprise you with something new soon.

Alexey Adonin was born in 1973 in the small town of Slutsk, Belarus. He is the only child of his mother, a building engineer, and his father, a painter, and a musician. Since his childhood, he has been drawing as his artistic path began when he was eight years old. It was natural for him to become an artist because he took after his father. Alexey believes it was when he made a portrait of his grandfather that his parents noticed how accurately he drew people’s faces. He soon started to use only his imagination and began making sketches of futuristic landscapes filled with technology, of which he was so passionate. Adonin was a big fan of sci-fi, he got his inspiration from books of famous Russian and international 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. He also subscribed to popular Soviet scientific magazines such as "Technology for the Youth" and "Science and Life." Since his father was teaching at the children’s art school, Alexey began attending drawing classes. In 1989, he began his studies at the state art college named after A. Glebov; he then moved to Minsk, the capital city of Belarus. The USSR was falling apart. Therefore, soon after this graduation, Alexey and his family decided to leave for Israel. Integration into another country is a complex and lengthy process. This and other factors caused him to stop the continuation of his creativity for nine years. However, when he thinks about this now, he concludes that such a hiatus was actually useful to him. After graduating from his studies in Minsk, Adonin had some practical base, but he was too young and lacked life experience. Now, he’s grown up and filled with ideas. He began drawing again in 2002, and in 2004 he painted his first oil painting, symbolically called "Per Aspera Ad Astra," a Latin saying that means "Through Hardships to The Stars."

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Since the artist naturally follows his unique path, Alexey Adonin's style also began developing through the prism of personal preferences. For example, when he was a little boy, he became interested in science and science fiction, which inspired him to implement these themes into his art. It all started with opuses about humanity's future, the possible development of technology, human exploration of other worlds, and contact with other more advanced civilizations. He had always been obsessed with the concept of a perfect society by implementing intelligent innovations, and humanity does not pollute nature. Alexey also spent plenty of time outdoors, watching the stunning wilderness, cultivating his respect for it, and absorbing an intuitive knowledge. All these factors influenced the development of critical thinking in him, which allowed him to start searching outside the visible world. Being interested in philosophy and inner human space, he was unsatisfied with the banal copying of reality. Instead, Alexey has always striven to create something with more in-depth meanings. By combining and calibrating the balance between abstract and surrealism, he found that he could get as close to this state as possible. Alexey calls this style - visual philosophy. This kind of art allows you to plunge into non-verbal contemplation by connecting your imagination and critical thinking.

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Alexey Adonin skilfully and passionately brings the mysteries of our individual minds to life in each of his creations. The thoughts that linger just out of reach or the feelings we do not always quite understand, both of these are inconspicuous elements of his art. His color palette is one of freshness and modernistic tones and undeniably a thing of futuristic beauty. Alexey can transport us anywhere in time and space through the universes he creates on canvas while somehow concurrently bringing us back to our true selves.

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Q. What is your philosophy in matters of art?
A. Art and philosophy are inseparable. It is like He and She – they are meant to be together! This unity results in the ability to dive into the most profound areas of consciousness - the preverbal spheres. The silent presence of light always accompanies the mysterious path and warms the artist's soul with boundless love. As in the clean sheets of the hearth, as in the mother's bed, a child peacefully opens his innocent eyes, so I find my peace in art, awakening with the joy from a long sleep. Each time I free myself from constraints, each new creation is a unique cognitive experience. Art heals from the most terrible disease of humanity - fossilization, callousness. I will say it with a quote from "Stalker": "When a person is born, he is gentle 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. Gentleness and flexibility - express the freshness of being."

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Q. Tell us about some of the highlights of your artistic career, such as memorable shows or publications?
A. One of the highlights of my career was 2020 when my work "Existential Spheres" had been selected by New York "Artios Gallery" as a winner of the "United Through Art" curated art exhibition. Shortly after, I signed a contract with them on being presented by the gallery for one year. "Artios Gallery" also organized a solo exhibition, "Beyond the Consequence of Time (2005-2020) - A Retrospective of Works."In general, 2020 turned out to be one of the most productive years of my career. My work was printed in magazines and often adorned with beautiful poetry pages. I was regularly being interviewed, and I also participated in exhibitions and competitions, often winning prizes.

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Q. What role does the Artist/ Painter have in society?
A. People are social creatures, but they are very disunited today by the modern ways of living. Even when science and technology have brought us seeming comfort, it dissociates us simultaneously. Many other equally dangerous phenomena are affected by humanity, such as greed, lust, envy, and anger. These factors promise nothing but an apocalypse. By the way, it is well depicted in Hollywood movies. The true artist is passionately devoted to their mission; his art is honest and open to himself and society, even to naivety. Often, an artist is apolitical. However, it is a mistake to believe that an artist is no more than an entertainer. I think he gives something on a level beyond conventional. When many people are awakening from imposed dogmas, they have a significant demand for more profound art. The artist's creative impulses and passion reflect that need. Art acts as a bridge through our shared humanity that connects us. The questions the artist asks in their creations may seem impractical and illogical. However, it's an indicator that we are spiritual creatures, and we need something bigger than just basic things. To live a full life, we also need spiritual fulfillment! This is what enriches us!

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Q. What’s your best childhood memory?
A. I think one of my best childhood memories is when my dad and I went fishing. So, here is a note-remembrance I wrote not so long ago: "We get up early in the morning. It is still dark since about an hour remains until dawn. A calm summer morning always greets us with silence. There is not a single soul on the street - just us. I can barely keep up with my father's fast pace. We go to the bus station to catch the first bus going to the countryside. Fortunately, there are many lakes and rivers nearby. I fall asleep on the bus, and soon my father wakes me closer to the destination point. We leave the bus and go towards the river. The sun had already risen, illuminating the rural landscape. Finally, we went there. Each of us has chosen a place by the river, at some distance from each other. I cast my fishing rod. While nothing is happening with the bobber, I start watching the surroundings. Early in the morning, it’s almost silent. I can only hear some insects chirping in the grass, and the water is gurgling from playful fish. Nature is beautiful. I can spend hours looking at the diversity of life. I also look at the sky, watching clouds forming into whether animal's silhouettes or something like that. But then the bobber distracts me. The fish are biting..."

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Q. As a child, what did you wish to become when you grew up?
A. Even though searching for life destinations often becomes something that causes torments, in my case, I did not even raise such a question. It was unnecessary because, unlike most of my peers, I knew that I was an artist since childhood, I have always felt that way. I didn't dream of it; I didn't strive and didn't make any effort - I have always been one. It's like something that I have been forever and ever, even before I was born. It's just an inseparable part of me that I brought along with me from somewhere. It's my core. If you look at my style, you can note that it hasn't changed dramatically since childhood. As I gained experience, it became more emphasized and overgrown with details, but the base is the same. I think anyone would agree - it's not something that can be chosen or artificially created. I like to think of it as an enigma and want to keep it that way.

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Q. Do you remember the first art you made? What was it and how old were you?
A. It was my grandpa's portrait. I was eight years old. My grandpa and my parents were surprised and did not stop admiring it for a long time. I kept that drawing and still have it today. This was the first time my parents paid attention to my talent and how accurately I drew people's faces. They inspired me to keep it up.

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Q. What personality trait has gotten you in the most trouble?
A. In the past, I have possessed pessimism, self-pity, laziness, aggression, fervor, ignorance, and cynicism that have influenced my life most directly. When I understood I could not put up with it anymore, I began studying and practicing various self-improvement methods. It is always profitable to create the right attitude to everything before the mind tells you otherwise and drags you into trouble. That is why I perceive self-improvement as an absolute necessity. I began to explore several directions and soon made my own system, adapting for myself extracts from various teachings. My social circle began to change; with new interests, new people came into my life, and old habits, along with old friends, left. It influenced my art, as well, by transforming the perception and overall theme. However, I have always avoided fanaticism and chose the middle path for myself, realizing that any hobby could hurt if overdone. I believe that work on yourself never ends, even upon achieving a seemingly good result. Therefore, I work to this day to create the best and most effective me.

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Q. What have you had to sacrifice for this career?
A. I've had to make some decisions about my future in the past, but I doubt it can be called a sacrifice. Merely, I always strive to stay true to my ideology and not betray myself for the benefit of dubious advantages. It reminds of passing obstacles in your path akin to underwater rocks in the river where you sail. By doing my favorite thing, I have not lost anything but only won. I am happy with who I have become and enjoy what I do. I believe that a person's purpose is oeuvre, self-improvement, and spiritual growth, but not just consumption, money-grubbing, and having dubious pleasures. However, being a supporter of the so-called "Middle Way," I understand that it is essential to agree with all aspects. Therefore, parallel with my spiritual, metaphysical growth, I am also engaged in a banal improvement in the physical world. It is impossible to cognize the higher if you fail in fundamental things - I don't want to degrade to the level where I need someone's pity or care. I merely do not put this need at the forefront. Thus, I remain free from the system's obsessive fetters. As in art and life, I'm not satisfied with mediocrity. I try to avoid patterns of behavior imposed by society. I devote myself to those aspects of life which somehow reflect my inner world.

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Q. Who are your biggest influences, are you inspired by the work of your peers or anyone else in particular?
A. Perhaps, in terms of the development of artistic taste, critical thinking, and extraordinary perception, my father had the most significant influence. Since this influence began in childhood, it left the most remarkable imprint on me. Later, tracing and analyzing my work, it was pleasant for me to realize that the seeds of valuable experience, once planted by my father, matured into the form of a powerful potential that opened the way for me to process my realization. I'm convinced that the very fact of such a unique acquisition, combined with my irrepressible desire for creativity, was sufficient to create my original style. The knowledge I accumulated in various fields and other general motivating factors also played an essential role in my development. However, the main thing for me was the ability to perceive the world through art's prism and see everyday events as a unique form of creative activity. This ability to live art every time inspires me to proceed with the creative process.

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Q. Is the artistic life lonely? What do you do to counteract it?
A. I do not feel lonely, and I do not see anything intimidating in being alone. On the contrary, I accept it as a state of calm that promotes my creative activity. When I am alone, I do not have to pretend, playing numerous roles imposed by society. Instead, I can be who I am. Moving away from the hustle and bustle in this state, I can work calmly, immersed in my thoughts.

Each of us is born as someone unique, with his world, lives by it, and leaves this world with it. Another question is, is this separate world self-sufficient? For me, the answer is obvious! I do not need the presence of someone. It often tires me. I think loneliness is my unique, conscious, and self-sufficient state of mind.

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Q. Apart from your art, what do you love doing?
A. I love hiking and jogging in nature (forest or seaside) while listening to pleasant music. I practice various physical and spiritual practices. It is a complex of multiple exercises such as qigong and yoga. I am continually accumulating knowledge on self-development, self-improvement, self-knowledge of a person, a healthy lifestyle, and everything that can help achieve success and happiness in life. I am also interested in knowledge about faith, religion, strange phenomena, esotericism, meaning, and the purpose of life. I try to understand myself, solve my problems, and develop essential personality traits to live a fuller life, achieve my goals, and not give up in the face of difficulties.

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Q. What does "success" mean to you?
A. 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 the tipping point occurs along the way and when work requires a lot of inspirational power. Therefore, success is also in finding the necessary compositional and color solutions that cannot be foreseen or planned. As a bonus to this, there is recognition by the majority, which manifests itself in the form of various publications on public platforms, participation, and awards in competitions, etc. In the sales, of course, too, because the material component is a form of energy exchange, it is impossible to live without in the modern world. I also give an essential role to personal growth, including self-education in various areas, physical and spiritual development. So, there are some different types of success. The most relevant for me are achievements in artistic creation, publicity and recognition, and personal growth.

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Q. What are the biggest things you've learned in life thus far?
A. I found that everything in our life is relatively neutral until we give it our interpretation. So, I always try to create the right attitude to everything before my mind tells me otherwise. This approach allows me to enjoy every moment of life outside of my studio, whether it’s a day-by-day job or all sorts of worldly affairs not related to my oeuvre. I am sure the way we think shapes our world. Like a mirror, the world reflects our attitude towards it - that is, it begins to correspond to our ideas about it. In the modern world, our mind often succumbs to many temptations and rushes towards third-party goals. We forget about the true desires and needs of the soul. We do not hear its quiet voice, so we drive ourselves into frames and invent obstacles for ourselves. Therefore, it is much more important to listen to yourself and not rely on someone else's "competence." I try to move towards my goals and think about the end result, as if my intention has already been realized, and not let doubts take over.

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Q. What’s the best piece of advice you’ve been given, and by who?
A. My grandpa, who went through World War II and got awarded many times, told me the following story. In the first months of the war, there was great chaos. In one of the heavy shellings, my grandpa was in his trench, the others in theirs too. As the bombardment lasted for quite a long time, accompanied by earth-shaking and terrible noise, many soldiers panicked. They often ran from trench to trench, thinking that it might save them, but in fact, it cost them their lives because numerous debris from explosions overtook them. My grandpa lived because of his ability to stay calm. He didn't panic and stayed where he was. It's a situation that bared all the hidden fears and showed who knew how to resist them and who didn’t. It shows that everyone’s survival depends on his personal qualities, the useful ones we must cultivate. Otherwise, we will have to pay a price that is too high.

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Q. What advice would you give to the next generation?
A. All doors are in front of you. Open the ones that are yours and hit the road, boldly. Avoid fuss, go forward without looking back, and step by step, you will turn from a student into a teacher and from a teacher into a creator. Find your world and light it as a candle. It will burn at zenith like a star. This world will become your heavenly home, intimate and dear, and like a mirror, will reflect your light. It will carefully carry you in his soft fluffy mittens, loving you and delighting your mortal path.

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.

SOVEREIGNTY OF SPACE

Shapes and colors invite contemplation and meditation on the mystery of time and space, as Heidegger (a German philosopher) would say - the mystery of Dasein - the existence that awaits the artist's revelation who can register and show it.

In the case of Belarusian artist ADONIN, the search for discovery about the meaning of painting concerning the man's internal vision is shown, of his location in a cosmos that continues to surround him by the enigma of the being.

The very slow and circumscribed color constellation gives value to forms that like vestiges and evocations of that universe generated out of time, or that appropriate the entire moment of existence and rebirth in each instant and according to each dream. (written by Gregorio Vigil-Escalera)

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.

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

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. 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 you started again in your art career. 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!

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!

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!

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.

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.

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 seek. Although I am mostly interested in something more exalted, I love nature and often hiking. Solitude with nature helps me to 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 a 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. In my creative endeavor, I try to apply a more philosophical approach and to hint at the mystical origin of all things. 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 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)