Interview with the Artist: Alexander Saidov

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Interview with the Artist: Alexander Saidov

Interview with the Artist: Alexander Saidov

In September, RakovGallery in St. Petersburg presented an exhibition of a new series of artworks by Krasnodar painter Alexander Saidov. We asked the artist about the choice of the paradise theme, the invention of fantastic creatures and further creative plans in the new interview.

A new series of paintings presented at our exhibition is about paradise and its inhabitants. What idea unites the artworks and what prompted their creation?

In people`s minds there is the concept of "paradise" - a kind of happy place that does not exist in reality, but when describing it, people use completely material concepts. This is the paradox I am exploring. I materialize more abundant nature, than in reality: fruit that surpass real fruit; animals that are no longer animals ... I consider the concept of the boundaries of paradise, starting from the idea that there was an expulsion from paradise. Paradise cannot be infinite, there must be an entrance and an exit. And this is architecture… I’m thinking, what could the creator or beings (angels, archangels) created by him build? This is a paradox - architecture that was not made by a person! This structure of paradise, its visualization captivates me.

How did you come to the fact that you are an artist and want to develop in this professional field?

Initially, I was attracted by the possibility of creating the illusion of space on a completely flat surface. To some extent, this is magic - to make a three-dimensional world in a rectangular window. In reality, it's just a flat rectangle. And then I was fascinated by the question, what kind of world is there behind the disappeared surface.

You have two so-called stylistic "branches" in your artworks: hyperrealism and surrealism. Why do you choose them?

Realism is my respect for the beauty of those elements of the world that I admire. Careful display of them. Surrealism, or, more precisely, fantastic realism and symbolism, is the creation of my own reality, the desire to explore new forms, sometimes even a sporting interest in writing a world no less beautiful than ours, but a little different.

Apples. Oil on canvas. 30x40 cm

Tell us about the process of creating your paintings.

First, I reflect on topics that concern me; as a result of reflection, a conclusion appears, which gives rise to a visual image in the imagination. Then I look for materials: objects, photos, poses of people, facial expressions, everything that will enhance expressiveness. Then I draw sketches on paper until I find the optimal composition. From now on, I take the canvas and continue refinements and rearrangements on it.

Do you invent all the characters yourself or do you rely on something when inventing them?

There is the concept of archetypes. For example, this is clearly expressed in heraldry. When you see a wolf, some associations arise, when you see an eagle - others, a chicken will cause still others. Their interaction stimulates the thought process further. By giving these archetypes human features, you increase the power of their emotionality for the viewer. Many people say that my characters are sad. I think this is a side effect of my desire to give them a smart look. A clear illustration of the thesis "A lot of knowledge – a lot of sadness."

Breeders. Oil on canvas. 90x120 cm

Who are your favorite artists? Can you name the painters that influenced your style, vision in art?

I can name the art of many famous artists as my favorite. Giovanni Battista Piranesi, creator of the world of architectural ruins. Hieronymus Bosch (he inspires lots of us, and I can`t stay away). Jan Van Eyck is an artist who invented oil painting and set an incredible level of realism. In my opinion, over the centuries after him, artists have not progressed as far in this as he did. I also find inspiration in Arnold Böcklin`s island of the dead, images of tritons, fauns. Piero della Francesco has mathematical precision and purity of space. Alma-tadema is a virtuoso of building space on the convergence of tonal and color spots, he does it very airy and lively. Jean Delville is a strong symbolist, both expressive and delicate. The atmosphere of some paintings by Konstantin Somov is simply magical. Ernst Fuchs impresses me with the materialization of religious mysticism. I am inspired by the masters of the Dutch still life of the 17th century, too. If to speak about the living painters, I like Mark Ryden (the charming world of fantastic realism, where cute princess dolls are combined, and, for example, Abraham Lincoln); Lipkin (awesome realistic living painting); Innocenti (he can make incredibly detailed space, all in watercolor). And these are just those artists who immediately came to mind. At different times I was influenced by different artists, their significance lost relevance over time, others remained guiding lights. About a couple of times a week, works come into view that are very pleasing to my perception. Almost every day I look through the information space of the visual world, not only the modern one. Many paintings created in the past, as it turns out, have not yet caught my eye.

What inspires you?

The beauty of the visible world: beautiful shapes with pleasing proportions, color combinations, beautiful things, mostly created in the deep past and selected by time, such as Corinthian capitals, baroque decor or Celtic ornaments. And also the look of a well-primed canvas.

Park with water lilies. Oil on canvas. 70x120 cm

How do you choose themes for your work?

During a creative crisis, Andy Warhol came to the conclusion that you need to draw what you love. This is how his soup cans appeared. I have a similar method: I choose topics related to things I love. They give space for painting, where you can demonstrate skills.

What are you working on now?

Now I continue to expand the "paradise world", I penetrate into its nooks and crannies. I am looking for something that is not obvious, but follows from the logic of the existence of paradise. Lots of paradoxes pop up if you think about it.

Are there any new series planned? What will they be about?

I have even started it - this is the theme of duels, archetypal battles. It is present in its infancy in some older artworks. This is relevant now: we live in time for change through struggle. But the painting is not news, it has been hanging on the wall for decades, and its meaning is not in direct philosophy, which can be explained in words. Renoir said: "If a painting can be explained in words, it is a bad artwork." Here, philosophy should be read through pictorial signs (lines of color, shapes, objects, facial expressions). Therefore, what has become relevant now, I translate into forms that should not lose relevance in the future.

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