sasha roschin

Sasha Roschin_NVSK (296).jpg

    That trout

For all my 7 years living in St. Petersburg, this is probably a year that influenced me a lot. These 7 years it was such a race and not always a successful one but, still, it was a race that I couldn't stop. Lockdown created such a thing where I found out that I never had a proper rest. I had no habit where I gave myself to switch.

 

More or less happened where my girlfriend got a car, which allowed us to leave not only for grocery shopping but also to the countryside. Where I found out that I can fish for trout. And I finally got a feeling that I can do something during a pandemic because, before, I didn't have a feeling that I could continue to do my courses, work or sell my work as people had bigger priorities to take care of.

 

I remembered what a significant role nature was always playing and when I realised
I got disconnected from it I had a moment where I asked myself what I have been doing these 7 years. My attention has gone where I have not been for a long time.

Внутренний закон FARAME.jpg

I was running to nature to connect myself to the source of some kind of spiritual background.

оригинал вышивка.jpg
аналог в раме.jpg

    We promise that figurative is a word

I had a big phase in my life where I have done fashion illustration. And it was a completely different sphere where I used figurative and academic drawing. I was doing references through classic British fashion illustrator David Downton. Because of all this, my history of commercial work increased. 

 

Since 2018, my partner and I have launched online courses to create free time for myself that would allow me to experiment. It was a pretty significant year. However, in Russia courses, do not get anyhow protected. Therefore everyone can overuse them, steal information. It turned out that on this technical side in Russia, I was a pioneer. I was not planning it, neither was I researching it. It just happened to be that I was one of the firsts. People who now teach in their courses on these techniques mainly received information from my courses or came to me personally.

 

When I had a lot of courses, I earned much more with them than my works, of course, it bothered me a lot, because there is always a feeling that I suppose I am not such a great artist as you get to teach others but you do not have time to develop independently to progress.

The most important thing I can give is technology

05.jpg
06.jpg
IMG_8489.JPG

    Liquids

When I realised that I am not so interested in the person I draw but the material I work with, I started connecting synthetic and technicality. 

 

I knew that people perceive this whole liquid art as more of a hobby... people that use it are not artists but use it in a form of therapy, fun..decorative. I was more into the medium rather than the concept. When I explored the material, I knew I wanted to learn more about it, I wanted to know how to use it. After half a year, I worked probably with all the liquid materials there are, and it created a rapid moment where I said bye to illustration.

 

After that, I got involved with abstraction. Where I was searching for identity, or for a reason why I am doing it, why I like exactly this type of shapes and forms. Everything seems to rest on the question of some spontaneity, naturalness and control, control as an artist on the material.

It is necessary with ink to add something every time, otherwise, it's boring.

Annihilation_VOL.2_04.JPG
IMG_7733.JPG
IMG_7737.JPG
Слайд 29.png

Favourite body of water? - Ay river

Sasha Roschin_NVSK (59).jpg
Sasha Roschin_NVSK (57).jpg

I do not change the material very much, but I am trying to introduce new conditions to it. Create an atmosphere for this material so that it behaves somehow differently.

 

Currently, it is a theme of tiles. I chose them because I wanted them to float too. I am trying to also add a junction of different cultures, using different ornaments while combining them in one work. I think I can achieve the effect of merging different cultures. It excites me visually, but I do not want to succumb to any roots of symbolism and so on.

 

Primarily I search for the impulse that will give me the desire to experiment. I don't analyse the impulse, in a way I am the same as a guy that sees a sunset and needs to quickly capture it.

One of the main motivations for which I work is to get a strong impression of what I can do.