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Artist Aleksandr Fayvisovich


An example of fine art by Aleksandr Fayvisovich

Photo of Aleksandr Fayvisovich




Biography


  INTRODUCTION

"The artist is the intermediary between the people and their subconscious,
and therefore must be a clairvoyant and a good psychologist"Rostislav Barto

An insightful remark, taken as an epigraph, comes to mind when meeting the artworks of Aleksandr Fayvisovich, a Russian artist now living in New York City. This is not just about his portrait compositions, both painting and graphic, but also about the paintings of pure landscape or landscape-like genres. This feeling comes from the emotional tone of his work, the slow release of the feelings and senses contained in the works. The state of somewhat detached thoughtfulness, the unsteady associations born by them, and a special philosophy of artistic vision, become the main content.

Aleksandr Fayvisovich is a master of traditional style, and a thoroughly modern artist by nature of perception and feeling. He stands firmly on the positions of figurative art, perhaps with rare exceptions, not focusing much on objectivity and transforming natural impressions quite easily. Objective things, without losing their authenticity, are imbued with the subjective. The figurative-narrative beginnings in his works are noticeably weakened. They do not so much tell about something, as they evoke certain feelings, create a mood.

Even in purely, at first glance, practice drawings of the artist in the series of "Movement", "Dynamic pause", "Study of Rodin," there is a certain distancing from an academic problem, from demonstration of his professional acumen. Yet somehow completely unintentionally there still arises a palpable emotional weight.
This is revealed in the series of sketches "The Glance", in the graphic self-portrait, and especially in the series of drawings "September 11". The personal differences and the involuntary commonness of a reaction, unified by the unseen tragedy: a feeling of being dazed, deep shock, and inescapable horror of the very possibility of [...]

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