Ability to live by future

It is simpler to tell about a person, who has the whole luggage of knowledge behind his shoulders. Whether it is solid career growth or even prizes for deserved success… In a word, there is a texture, the matter is only to disclose the examples, to systemize them, to generalize. And the portrait of a worthy man, surely interesting and rich in biography, is ready
It is simpler to tell about a person, who has the whole luggage of knowledge behind his shoulders. Whether it is solid career growth or even prizes for deserved success… In a word, there is a texture, the matter is only to disclose the examples, to systemize them, to generalize. And the portrait of a worthy man, surely interesting and rich in biography, is ready.
And if there is nothing of the kind yet, there is only a strive to achieve it. Probably, in this case it is important to understand, as a rule, a young man, who is ambitious, talented, persistent, who wants to conquer the goals. Yes, this is also a line of conduct, here is a character also seen. To foresee a success — means to recognize his future features today.
Alexander Domanov is 26. He receives postgraduate education. However, there is no such an institution among creative professions. But Academic master paintings, graphics and sculptures entirely correspond to a high status. Moreover, when they are under the patronage of the people’s painter of Belarus Mikhail Savitsky — a famous master and a teacher. Alexander Domanov also has achievements. He thinks, that he shouldn’t judge. He brings forward only the facts of his small creative biography. Properly, these are rather the features of the potential of his abilities. He showed the works when he studied in the art lyceum, before he entered the Academy of Art, he ranked second in the Republican contest of painting and sculpture, later he became a diplomant of the international exhibition in the Japanese city Takasaki.
But the main in his career, as Alexander thinks, is ahead, because he can live by the future. However, he ponders over about the present, relying on his own perception. Wherever the talk would lead.
— What is your view upon the art of the painter? Why don’t you go that way? What moves you?
— There wasn’t a dilemma in front of me: whether it’s mine or not. In our family, a father and a mother are painters. He studied in the art lyceum, then in the Academy of Art. Now — creative academic master sculptures, paintings and graphics. Yes, he had to observe, rather than choose. In a creative sense it’s difficult to explain. I don’t think that I am a formed painter, who has a rather clear vision of the world. Vice versa, in the art you cognize your “ego” through something you do. You don’t impose yourself to something, and, vice versa, you learn yourself through something, what surrounds you, through usual subjects. A man sees a life, builds his views and, if it is necessary, he changes the direction of movement. There is no such a wonderful world, where there is only art, where you are God. Vice versa, this man is unique in his consciousness. But each man finds the points of contact with the world. Mine are closely connected with the life itself and the art.
— As it often happens, did your parents influence your choice?
— Yes. But I am trying to look for existing variants, and not those, which will be in the future. Finally, you anyway live by the present moment and tomorrow you reconsider something, which yesterday seemed irrelevant. I was directed somewhere, but there, in that medium, I moved independently.
— Don’t you think that you are a formed painter?
— Not yet, because figurative art is one of the most difficult ripening. In order to learn to express feelings, a very long process is necessary. Let us say, that young writers can be older, than the painters, and musicians as well. Each man has its period. Yes, a painter can have feelings, but it’s difficult to express them. Many people came to their styles after forty, fifty years. There is a good phrase that you should try to be a painter all your life, until your last day. Not to be, but trying to become. If you achieve something, this is becomes either not interesting, or it becomes the past. It is prohibited in the art, that something would become the past. You should always live by the future.
— Who was your teacher of painting?
— I will again repeat: the parents influenced me. You can’t lessen this. Then there was a man, with whom I communicated for rather long, when I studied in the lyceum and in the academy. This is a famous painter Stelmashonok Vladimir Ivanovich. He is my etalon of human qualities and education. Now my teacher is Mikhail Andreevich Savitsky, a people’s painter of Belarus. He can be called a maestro. He is one of those, who entered the world art in the Soviet times.
— In your opinion, is today favourable for the art?
— I can say about me. The time is favourable, because nobody ties your hands, nobody snatches the brushes. I was given a workshop, I studied in the academy. There is a possibility to be yourself. It is not by chance that the destiny of a man is connected with his time. I don’t like to blame the destiny, vice versa, if there are hardships, this is more favourable for a person, than buttery condition, when everybody around helps you. In this condition it is hard to use experience. Nothing helps to a man so much, as a daily work.
— Do you connect your pictures with associations of today?
— I don’t try to impose my “ego”, and it arises from something that surrounds me. This is actuality, because communication, any contact with the things of our world and time makes a print. Today’s contemporary time is mine.
— It means, that you see interrelation in the fact, that today’s time gives art freedom and pushes the talented people to create their original and felt works?
— Freedom is a hard moment. If it exists, it doesn’t conceive inaccessibility, naturally. And now the world is connected with a surprise. Yes, a man wants to create something, he wants to cognate himself, but he wants to surprise more. The world itself results as an advertisement of some idea. It is not important, whether it is aesthetic or not. But if it is new, I am already interesting for the others. It means, that I need to analyze something that took place and to make a loopholeout of all these, where nobody tried exactly this. To find an unusual thought, to describe it unusually — this will be something originally born. And finally this is just something, what a man tries to achieve.
— Which manner of art attracts you most of all: shall it be a reflection of the real or shall it be more associative in it?
— Feelings and emotions are connected with something concrete enough and you can’t say about a picture, that this is simply a set of spots, even if it is so visually. There is a certain basis under each thing, even the most inconcrete. This is why I don’t divide things in simply sensuous and simply realistic. There are children, which take a pencil and draw: how it moves. And this is interesting. The grown-ups can’t manage the pencil like this, because they are very rational inside. But as to the painter, this is not simply a person, who holds a pencil in his hand. His art reflects his personality.
— You have a series of works, connected with a woman, with a silhouette. Is this art simply aesthetic?
— Here I put a lot of mental basis. There is rather a wish to express some aesthetics, plastic arts, your own condition through a figure. A figure is rather a difficult mechanism and image. It turns out to be not portrait, but I associate it on the plastic level. But even in any plastic model an image shall remain.
— After all, what is characteristic of contemporary art?
— As I understand, visual or figurative art leaves some classical norms and rather creates an image even on the level of the whole dimensional feelings. Certain sensual models are offered to a person.
— Would you like to say your word in this art?
— Probably. Each man wants to express himself, in order people to know him, in order something left after him. Mercantile interests, glory, money... I turn to the fact, that art and life is not built on that. And life is connected with art very closely. Now I have a tendency to a movement and some self-knowledge, world perception, of that condition, where I can happen, which I can finally reach. This is more important for me. After all, when I reach this condition, I will ask myself, whether I need glory or something else. This is my interest, my movement.

Viktor Mikhailov
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