FEATURED ARTIST
Boris Rodneyy

The creativity of Boris Rodnyy, by combining anthropogenic and mechanical, vegetative, architectural elements ontologically originated from the Vienna School of Fantastic Realism, which was founded in 1946 (Albert Paris Gütersloh, Erich Brauer, Ernst Fuchs, Anton Lehmden, Wolfgang Hutter, ideologist Edgar Jené), as well from “biomechanical art” and its father-founder Hans Rudolf Giger (born in 1940, Switzerland), it is also associated with Zdzisław Beksiński (born in 1929, Poland) and with artists of a younger generation (born between 1955-1973) working in the directions of biomechanics, cyberpunk, gothic, surrealism and steampunk, such as: Jan Pieper (UK), Dariusz Zawadzki (Poland), Kazuhiko Nakamura (Japan) – the celebrant of “automatons”, Tomasz Strażalkowski (Poland)], Peter Grich (Czech Republic), Tetsui Ishida (Japan). Many of them practice CG (Computer Graphics) and digital painting, as does Boris Rodnyy. In the artworks of Andreas Basurto, Damien Hirst, and the neo-expressionist Jean-Michel Basquiat, the destruction of the human body and bones is an important marker that refers to the religious cult of Santa Muerte and thanatology. Similar elements can also be found in Boris Rodnyy’s images.

His journey as an artist towards his current outcome and vision has been intricate, traversing both physicality and spirituality. He has always been receptive to all cultures, but Eastern aesthetics and philosophies have attracted him more than Western and European ones. Perhaps this is connected to some past incarnation of his – he does not object to concepts of karma and reincarnation. Initially, there was a path through the body – psycho-physical practices of Tai Chi Chuan, which immersed him in the philosophy of Daoism, the concept of “inner reserve,” and the management of energy through the body. Intention and Energy are key concepts in Tai Chi Chuan. He particularly resonated with the principle of “Being in motion, yet remaining in stillness,” reminiscent of the power arising from meditation. This proved pivotal in his subsequent development as an artist.

Subsequently, two years of practising yoga followed, along with encounters with the guru Sri Sri Ravi Shankar, visiting his ashram in India, a trip to Dharamsala, the residence of the Dalai Lama, on the way back from which he spent a week in the Osho ashram, founded by Bhagwan Shri Rajneesh near Bombay. Finally, in 2017, he managed to visit Tibet on specially “calculated” dates for him. By the way, he saw stunning Tibetan art in Gruyères, Switzerland, in a private museum adjacent to the museum of Hans Rudolf Giger, his favourite artist. In early 2022, he set off for Peru. While being in the plane, already on his way there he filled the entire notebook prepared for this purpose with drawings. Seeing the famous Nazca Lines in Peru in person triggered an “initiation” mode within him: their dimensions, designed to be seen from a height, gave him a sense of the vastness of the celestial “pictograms” that appeared in his mind.

His images could be called not geoglyphs, but cosmoglyphs because his canvases are a model of the cosmos, not the Earth. The concepts of energy and space are very important to him. The layers of paint that serve as a field for the emergence of his “symbols” embody the energy of color and the depth of space. He works in a special state, without a plan, following the technique of automatic trance drawing. It is a kind of meditation. With this method of depiction, images can appear anywhere on the canvas or paper, evolving and detailing spontaneously. Anything can serve as a trigger for their emergence – a randomly seen image or a life situation. In those moments, he detaches himself from himself and becomes a “transmitter” of what space speaks through him, as these images are messages from space. Detachment is a necessary element of his work – it emphasizes his unity with the world.

His method of receiving the images that he “transmits” is a kind of metaphysical vision, knowledgeable and therefore capable of seeing, and possessing knowledge which is characteristic of the Indian concept of Vidya. Vidya is the starting point of an open space that belongs to no one, as written by the meditation master Trungpa Chogyam Rinpoche. In Buddhist philosophy, Vidya is understood as the result of intuitive knowledge. Vidya-Haras in Hindu mythology are “holders of knowledge,” and Vidya-Rajahs are Buddhist deities who protect earthly beings from demons. In this art creation construct, according to the Vidya system, he considers himself as one who is led rather than one who leads: he surrenders to what comes to him and shares it with everyone. He transforms into “everyone,” every viewer of his paintings.

Through the universality of his images, which can be called symbols, pictograms, or, as he refers to them – cosmoglyphs, and therefore – a certain form of script – as they often address ancient writings and human cultures in form, he is reaching out to the collective unconscious of humanity. By conversing through his works with people from different countries, he aims to foster deeper mutual understanding and unity among individuals based on a common archetypal primordial language, in seeking by modern people their ancient commonality in today’s fragmented world, despite the abundance of digital communications.

more. www.rodnyy.com

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