Artist Alexander Pogorzhelsky about his projects «Folk Embroidery Motifs» and «Forgotten Ancestors»:

Irina Vernichenko, » Art&signatures»: How do images emerge?

Alexander Pogorzhelsky: It’s actually a very step-by-step process. Yes, for me the image is above all. Often, the search for this image takes quite a long time, but once it’s formed, I try to complete the work as quickly as possible, so that the image is captured effortlessly, transparently.

In general, in my creative work, I enjoy doing new projects, something I haven’t done before — it’s a challenge.

Previously, I mostly worked in oil on canvas — i did large two-meter paintings. Later, I began working in other artistic techniques. That’s how the large-scale project was born — the installation “Forgotten Ancestors.” The project is dedicated to the costumes of the peoples of the world and consists of drawings made with colored pencils.

For the past ten years, I’ve been working with the theme of prehistoric art. I’m inspired by folk art, ancient reliefs, sculptures, and embroidery on old fabrics. On the one hand, these images go back to the beginning of time. On the other hand, they are very futuristic, and I like these transparent images that stretch from the start of time into the future. It is the connection between generations, connection on an intuitive, symbolic level.

I V : What do you mean by Futurism?

A P : I like the term «Futurism» as a way to describe an unclear, indefinite future.

I V : In the Poldi Pezzoli Museum, there’s an embroidery display on the ground floor. Could you comment on how an image emerges when you see these works of applied art?

A P : All my projects are based on observations in ethnographic and archaeological museums. These impressions are very important. Later, certain fragments may, in transformed form, grow into themes for my future works. For me, the moment of transformation into a new image for a painting is crucial. It’s my own world based on observations.

Embroidery is based on legends and tales, but my works are not illustrations of those stories. I see them more as strong visual images. For me, it’s not a gaze in the past — it’s a look into the future, an unclear future is seen from a half-forgotten past.

Another recent project of mine, “Folk Embroidery Motifs,” was also done in a completely new technique for me — the technique of collage of various types of colored paper. The project was inspired by mythological and folk characters from embroideries of peoples and civilizations from around the world. I work on each character of a future piece individually, and later place them in the space of the overall installation. In general, each of my series is a logical continuation of the previous ones: the installation with costume drawings, the spatial installation with appliqués, the paintings — they are all interconnected and can be viewed as one large project.

I V : What is the future of art — abstract or figurative?

A P : Probably some kind of blend, a mix. Abstract art, if it’s good, is based on life.

I V : Are your works meant for private or public spaces?

A P : It would be interesting to see them in a historical space, or I think they would look good in a minimalist space with white walls. I believe there’s an element of universality in my projects. It all depends on the context and the curatorial approach.