Alexandr Pavlov - stories and feelings transferred to the canvas
Each of the paintings carries a story or feelings, which I try to capture both in classical portraiture and in the free work I have been focusing on for years. In my free creations I try to focus on topics that may be difficult for many but expressing the issues of everyday life for all of us.
Hyperrealismis and what lies behind it?
With its roots in the 1960s and backed by the Euro-American visual tradition, hyperrealism has a revolutionary reputation on the bastions of perfectly mimetic, radically realistic paintings. As such, he is one of the few truly irritating elements of the contemporary art world. It is directly connected with a revolt towards contemporary progressive artistic tendencies, on the one hand neo-avant-garde variants of abstract expressionism, minimalism, conceptualism or art of installation, on the other hand more or less engaged realism. His focus, unlike pop art towards a positive attitude, has been strategically linked to photography and technical vision as such, which he not only uses but also challenges. Hyperrealism, however opposing, but also well-informed by the avant-garde, deliberately moves on the borders of realism, naturalism, illusionism and verism. It cannot be understood as a visual play, a projection of an idealized world, nor the result of a simple artistic endeavor - it embodies an absolutely elementary interest in what really exists, a fascination with what is seen. It is a focus on the thing, not the way it is viewed; in detail, not context; the appearance on which it bases its own expression of the thing, not its intrinsic qualities - and subordinates everything to that purpose.
Because of its apparent ability to sublimate the needy and the remaining to reject, to be somehow "above the system," hyperrealism seems to be a symptom of its time - consumerism of the second half of the twentieth century, contemporary culture of image and post-truth. As if it were a tendency rather than a positivistly definable artistic style, it was an attempt to respond to the fundamental challenges of modern culture - including romanticism, photography and conceptual art - by setting the mirror to what it hypertrophies. That is why he seems to have a philosophical, sociological, or generally cultural, analysis.
Personally, hyperrealism appealed to me only at the age of twenty, but I was so excited that I wanted to literally “take a picture of a still life with a fruit brush”. Yes, although I am a portraitist today, I was learning exactly with still-life paintings. It is not so bad to learn to mix colors properly and blend them together just for such an apple. Some may laugh, but this is the basis of good painting techniques. It is not the only thing, such a realism to hyperrealism requires rather a good eye, which is able to capture on the artwork or object really every detail and transfer it in color on canvas. Anyone who follows this path like me has hard work ahead, and also a bunch of ruthless critics who are able to “take the wind from your sails”. Don't be discouraged, believe that the goal you set is at your fingertips.