Andrey Savich’s bold searches and bright discoveries

Young painter’s contemporary experimental style on show

By Victor Mikhailov

Andrey Savich is creative in so many ways, producing sculpture, photography, book illustrations, canvas paintings and polygraphy. After training in Belarus and abroad, he has developed his own style as a bright and original representative of contemporary Belarusian art. His painting is mostly experimental, as his Dots exhibition, at the Artistic Salon in Minsk, proves.

His latest experimental works are on display, united in their style: abstract expressionism inspired by the traditions of ‘classical’ expressionism. His exhibition is both original and philosophical, rethinking modernism’s artistic legacy — a peculiar feature for contemporary art. Viewing the exhibition, you can’t help but notice his interesting figurative forms, which are transformed with uniquely individual features. His works are completely unexpected — both in form and content.

Mr. Savich’s stylistic peculiarities are clearly influenced by European and American abstract painters from the 20th century, but his themes are solely Belarusian, inspired by his native landscapes. Most are dedicated to natural beauty, with titles such as On a Lake Bank, Autumn, Vezha and Cloud, and Winter. Early 20th century Russian avant-garde artists explored the same themes, and use of colour. Mr. Savich combines often colour solutions, as we see even by the titles of his works: Red, Movement of Red to White, Gold, White and Silver.

Most of his works follow associative and figurative paths, but his ideas are clearly seen in all canvases. Mr. Savich is allured by dynamical forms; these are primarily triangle configurations which may be placed statically but they move conceptually: Vertex, Triangle, Broken Diagonal and Sail.

Mr. Savich’s pictorial means are diverse for easel painting. He often uses black, introducing it into a delicate chromatic palette or stronger achromatic palette. He applies embossed fractures, with expressive calligraphy. His formal compositions are centred around geometric or improvised spots — bright ‘blobs’ dominate most of his works, as seen in Movement, Red and Lightning.

Despite the apparent chaos of his use of spots and calligraphy, which almost rush beyond the borders of the canvas, you immediately sense his care for exact placement and compatibility. He conveys his ideas simply, while preserving their initial message vividly and with a fresh eye. He transforms the canvas while remaining aloof.

Mr. Savich believes that painting is one of the strongest art forms through which an artist can reveal his world perception. “Painting as a form of self-expression can rival music and can even surpass words in precision; it has its own unique means and basic unit — colour,” he asserts. The Dots exhibition is evident proof of his theory, vividly demonstrating his passion for painting, and the creative legacy of Belarusian and foreign modernism.

Savich’s Dots vividly proves the author’s love towards painting, as well as artistic legacy of Belarusian and foreign modernism. This exposition is both a beginning and a continuation of Savich’s experimental creativity, leading to new discoveries.

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