Artist in conversation: Boris Rodnyy
Boris describes his journey as an artist as intricate, traversing both physicality and spirituality, leading to his current vision. Receptive to all cultures, he finds himself particularly drawn to Eastern aesthetics and philosophies over Western or European ones. This affinity, he speculates, might stem from a past incarnation, as he embraces concepts like karma and reincarnation.
His journey began through the body, with psycho-physical practices like Tai Chi Chuan. Immersing himself in Daoist philosophy, he explored concepts of "inner reserve" and energy management through the body. Key principles like "Being in motion, yet remaining in stillness" resonated deeply with him, influencing his development as an artist. This connection between energy, intention, and meditation laid the foundation for his creative evolution.
Over the years, his spiritual exploration continued with yoga and encounters with figures like Sri Sri Ravi Shankar. Visits to ashrams in India, Dharamsala (home of the Dalai Lama), and the Osho ashram near Bombay enriched his journey. A significant milestone occurred in 2017 when he visited Tibet, chosen for its "calculated" dates, and viewed Tibetan art in Gruyères, Switzerland.
In 2022, his travels took him to Peru, where he visited the Nazca Lines. Witnessing these massive geoglyphs triggered a profound sense of initiation, awakening a vision of "cosmoglyphs"—symbols representing the cosmos rather than the Earth. This encounter affirmed his focus on energy and space, central to his artistic practice.
His process relies on a unique method of automatic trance drawing—a meditative state devoid of planning. Images emerge spontaneously on canvas or paper, often triggered by fleeting life moments or random visual cues. He views himself as a "transmitter," channeling messages from space. Detachment is essential to his work, enabling unity with the world and aligning with the metaphysical vision of Vidya from Indian philosophy.
In his artistic framework, Vidya represents intuitive knowledge and open space. He identifies as one led rather than one who leads, surrendering to what flows through him and sharing it with the world. Through this process, he becomes "everyone," allowing his art to connect deeply with its viewers, serving as a medium for universal messages and energy.
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What initially inspired you to become an artist, and how did you develop your unique style?
Initially, I was inspired to become an artist by a simple yet powerful idea - the desire to share my vision with the world. I wanted to reveal to others the images that had come to me, those that I had personally experienced. Although I had been learning to draw since childhood, I soon encountered a challenge: I struggled to depict these images as they appeared in my mind. Another crucial aspect of my journey is the irresistible urge to draw. Whenever I sat at a table with pencil and paper in hand, I would begin to draw. My hand would instinctively trace lines, creating figures, faces and patterns. This became an integral part of my life, and gradually I began to merge these two impulses: the desire to share my images and the natural inclination toward "automatic" drawing. My style, as it turns out, has been developing throughout my life. The foundation of my style, my vision and my philosophy has been formed by a series of events and impressions that have remained in my memory. These moments were not accidental; they indicate that I had already begun to perceive the world in a way that made these experiences central. The first profound impression that influenced my perception of art occurred during a biology class in the sixth grade, when I looked at the skin of an onion under a microscope, magnified twenty times. I was struck by the clear and remarkably beautiful cellular structure composed of lines. Later, my experience working in an engineering factory evoked a similar admiration: on aluminum panels for aircraft, I observed geometric structures formed by reinforcing ribs. These ‘patterns’ symbolized a hidden beauty in my perception that, as it turned out, my colleagues didn’t notice. This realization that people can perceive the world very differently became a pivotal moment in my development as an artist. A third significant moment was my acquaintance with the work of H.R. Giger, whose illustrations revealed to me unimaginable worlds and textures. I came to understand that other worlds, different from our own, exist and can be depicted. I began to suspect that I,
too, could create such worlds. The fourth and perhaps most important piece of the puzzle was the realization that I could create ‘real’ paintings myself. Although I had been drawing since childhood, I had long not considered myself an artist. Gradually, I came to understand that I could be a true artist and began to consciously develop my style. My style evolved step by step, line by line; it was not a sudden insight, but rather a long process of development.
Do you have any rituals or routines that help you get into a creative mindset when starting a new project?
Yes, I have my own rituals and approaches. My creative process starts with meditation and getting into a certain state. Sometimes it can be very simple - I draw a line, followed by a second, a third, and then the process takes on a life of its own. It is a form of meditation, going into a state of automatic trance drawing that allows me to connect with deeper levels of consciousness and receive images that I believe are coming to me from future civilizations. In these moments I become a conduit for these images.
How do you approach the process of experimenting with new materials, and what discoveries have been most surprising or transformative for your work?
The most surprising and transformative discovery for me has been the realization that I can draw directly on canvas. I had previously experimented with a variety of materials and techniques, including laser cutting, milling, screen printing, and 3D printing. However, I had long believed that brush and canvas were an obligatory pairing, which became something of a dogma for me. When I understood that I could use markers and other tools to create graphics directly on canvas, it was a real breakthrough in my creativity. I use printmaking, acrylic work, and Posca Art markers, adding additional marks to each new layer of the image. This creates an informationally complex visual and semantic depth in each piece. Although the physical texture of canvas is different from that of paper and has its own characteristics, this format is ideal for my work where lines and form play a crucial role. I have discovered a new way to express my ideas that has become an important part of my artistic process.
Could you elaborate on the significance of your visit to Tibet in 2017 and its effect on your art?
My trip to Tibet in 2017 marked a significant milestone in my creative evolution. This trip helped me to deepen my understanding of the connections between the earthly and the cosmic, as well as between the material and spiritual realms. In Tibet I realized that my work reflects not only earthly but also cosmic processes, which became a central idea in the further development of my art. Tibet strengthened my conviction that I should create something mystical and convey the energy and wisdom of past and future civilizations through my work. Perhaps ancient civilizations knew things that we have forgotten today.
Can you describe a particular life situation or image that triggered a significant work in your portfolio?
One of the most significant events that influenced my creativity was my trip to Peru, specifically to see the Nazca Lines in person. This experience was profoundly transformative and opened new horizons of perception for me. There I felt a powerful flow of visual images and symbols that seemed to transcend time and space. These visions inspired a series of works in which I began to explore cosmoglyphs - symbols and images that reflect the fundamental laws of the universe and the interaction between the earthly and the cosmic. I became fascinated with the matrix of nearly identical archetypal signs across cultures. In this series I attempt to convey feelings and revelations through symbols, lines and forms that came to me in deep states of consciousness. This experience became a catalyst for my desire to explore more deeply the mystical and spiritual aspects of reality and integrate them into my art.
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
I find feedback to be an important tool for reflection; however, like many, I am more inclined to hear what resonates with my own perception. I appreciate when viewers see
high technology and ancient symbols of other civilizations in my paintings, as it reinforces my desire to continue creating. Although my works may resemble primitive art of the past, they convey revelations of the future, and the viewers who share this vision inspire me. Ultimately, my intuition remains the primary compass in my artistic practice.
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
I am motivated by a deep connection to spiritual practices. I believe that my work is part of a larger magical process connected to the future. In moments of creative crisis, I turn to meditation and inner peace to help me rediscover my path and continue to create. The admiration of others also strengthens me and inspires me to move forward.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
It is a great honor for me to exhibit at The Holy Art Gallery, as this space values unique artistic expression. I am excited to present my work to an audience that understands and shares my interest in symbolism and spirituality.
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
My long-term goals as an artist are focused on the deep exploration and development of the concept of magical drawings from future civilizations. I aim to create a series of works that are not only visually striking, but also serve as a bridge between the present and the future, helping viewers to recognize their connection to the cosmos through ancient and new symbols. Through symbols and images, I seek to explore the mechanisms that govern the flow of time and their influence on our perception of the future. My art is an attempt to understand and visualize these processes, combining scientific understanding with mystical perception to reveal the profound connections between the present, past and future. I believe that the symbols and signs of ancient cultures may also be the mechanisms of the future that can help us find our identity. The future is a flow of time coming from the present and the past. What makes time flow? If time is a flow, what is the mechanism that creates this flow? As an artist with an engineering background, this question is particularly intriguing to me. If we imagine time as water flowing from a faucet, how does it get to the faucet? What pumps lift it up to our metaphorical 2024? What are these cosmic mechanisms? And where does this water-time go after that? Who and what pumps it? And where to? These questions are at the heart of my creative work. To achieve my goals, I plan to continue studying different cultures and philosophies, deepening my knowledge of symbolism and mythology. I also plan to refine my technical skills by experimenting with new materials and techniques to find unique ways to express my ideas. In addition, I plan to actively participate in exhibitions and collaborate with other artists and scholars to broaden the impact of my work and communicate my vision to a wider audience. My goal is to create artworks that are not only relevant in a contemporary context, but also timeless, capable of inspiring and provoking.
What role does emotion play in your creative process, and how do you aim to evoke specific feelings or reactions from those who view your artworks?
The role of emotion is central to my creative process. It serves as a conduit for the energy and intent I bring to each creation. Through emotion, I convey not only visual images, but also profound experiences that can resonate with the viewer's inner world. My goal is to evoke in my audience a deep sense of oneness with the world and with themselves, and to inspire personal reflection and discovery. I strive to create a space where emotions can unfold, allowing viewers to immerse themselves in my work and feel the same energy that inspires me to create it. Emotion is everything to me. I especially value the feeling of awe as it is a source of my inspiration and drives my creative pursuits. My paintings inspire awe in me, and I hope that sense of wonder is communicated to those who engage with my art.