One to Watch
Switzerland-based artist to observe, Alexei Blagodarev, employs quite a lot of visible instruments to create ordered canvases, elevating easy varieties into pictorial concord. Using the effectivity of line and colour, Alexei outlines scenes stylized to perfection, whether or not it’s tablescapes set for Apéro in his sequence ‘On the Desk’ or weak, nude males within the sequence ‘Coming Out’. Whereas tablecloths use sample to demarcate area in some works, male figures are fragmented by the exact same geometric varieties, disappearing into the background in others.
Alexei has been featured on a lot of events by Saatchi curators. In his work, no brushstroke is misplaced, nor element missed. Discover out why Alexei Blagodarev is that this month’s One to Watch.
Inform us about who you might be and what you do. What’s your background?
I used to be born in Arkhangelsk, northern Russia, the place I first turned excited by artwork by means of conventional folks portray. As a toddler, I attended an artwork faculty centered on ornamental wooden portray, a craft rooted in native tradition. Though I don’t have a proper educational artwork training, artwork has at all times been a part of my life. I labored for a few years as a florist and decorator, at all times drawing, at all times studying. Once I moved to Saint Petersburg at 19, I discovered countless inspiration within the Hermitage. Matisse, Picasso, Malevich, and Kandinsky formed my visible language and love for portray.
What does your work goal to say? What are the foremost themes you pursue in your work?
My work explores themes of presence, reminiscence, and emotional intimacy. In my sequence “Across the Desk,” I mirror on gathering as a quiet ritual—a second suspended between “I” and “you,” between phrases and silence. The desk turns into a metaphor for connection. I exploit on a regular basis objects (cups, fruit, tableware) and switch them into witnesses of temper and time. In “Coming Out,” I discover vulnerability and id by means of the male physique. The figures are faceless and at relaxation so the viewer can step into them. Each sequence are about how silence can say greater than narrative. They ask the viewer not to have a look at the picture, however to really feel it.
Are you able to stroll us by means of your course of for creating a piece from starting to finish?
My course of begins with a sense, a sure emotional rigidity or ambiance I need to categorical. I don’t sketch a lot. As a substitute, I accumulate fragments: a colour, a shadow, a gesture. These spark the work. I construct the composition fastidiously, however permit area for change. I usually start with rhythm and palette, letting these components information the remainder. For me, portray is like choreography: a dialogue between management and give up. I goal to not describe, however to distill one thing important—one thing that lingers in silence.
How do you hope viewers reply to your works? What would you like them to really feel?
I don’t goal to impress; I need to invite. My work is about creating area for feeling, slowing down, and recognizing one thing in oneself. In “Coming Out,” I hope viewers reply with tolerance and openness—not solely towards LGBTQ+ identities, however towards all types of distinction. The world feels more and more harsh. We should honor one another’s selections, our bodies, cultures, and methods of being with kindness. In “Across the Desk,” I would like the viewer to really feel time. To really feel how temporary and treasured life is and the way simply we commerce actual connection for the distractions of screens. I hope these quiet scenes remind us to be current, collect, and love one another whereas we are able to.
How does your work touch upon present social and political points?
I don’t strategy politics straight, however each of my sequence carry refined social reflection. In “Across the Desk,” I discover the lack of actual human connection in our screen-driven lives. The desk turns into a closing bodily area the place presence nonetheless issues. In “Coming Out,” I communicate to vulnerability—particularly male vulnerability—as an act of honesty and tolerance. I hope each sequence encourage compassion, reflection, and a spotlight to what we frequently overlook.
Who’re your greatest influences and why?
Matisse conjures up me by means of his wild and joyful use of colour. His work makes you are feeling alive. Picasso taught me the worth of freedom and reinvention. Malevich confirmed me the power of simplicity. Extra broadly, I’m drawn to restraint in portray, movie, or writing. I love creators who say extra by means of silence, vacancy, and rhythm than by means of element.
Who’re your favourite writers?
I’ve at all times cherished Dostoevsky—his depth is timeless. Not too long ago, I found Laurent Gounelle, and his guide “The Man Who Needed to Be Comfortable” resonated deeply. I’m drawn to authors who communicate to the soul merely, however with honesty.
Do you favor to work with music or in silence?
I at all times work with music. It units the temper, fills the vacancy, quiets the thoughts, and helps me focus. Music turns into the background that lets the portray communicate.
