The Lithuania Tribune interviews Fedir Aleksandrovich, a renowned artist known for his thought-provoking and deeply symbolic works. The Ukrainian artist infuses his art with historical narrative and raw emotion, often exploring themes of identity, exile, and resilience. Through a striking visual language, he captures the human condition. Having exhibited internationally, he now shares his work in Lithuania, offering audiences a powerful and unique artistic perspective, Liudvikas Jakavičius writes.
Can you share the story behind your first painting and how that experience influenced your artistic journey?
My first oil painting was created in Sozopol, Bulgaria, in 1997, during my time at art school. It was a small landscape, and perhaps that moment of creation shaped my journey more than I realised—after all, I now live in Bulgaria.
Which artistic styles and artists, from Ukraine and internationally, have significantly influenced your work?
I have been deeply influenced by the Gothic master Theodoric’s paintings in Karlštejn and the work of Pierre Soulages. These two experiences were particularly striking and left a lasting impact on my artistic vision. Beyond that, I have found inspiration in German expressionism, such as Lyonel Feininger, and abstract expressionism, particularly the works of Jackson Pollock.
How did you develop your distinctive artistic style, and how long did this evolution take?
My artistic development unfolded in distinct stages. I initially spent a great deal of time creating performances and working in theatre, which, in hindsight, shaped my unique perspective. My first major artistic transformation occurred during my postgraduate studies between 2008 and 2011. The second phase of my evolution happened between 2019 and 2022, a period marked by conflict with the academy and the global pandemic. The third and most recent stage began with my forced emigration, which exposed me to new influences in Turin and Paris.
Your exhibition, “Three Years of February,” delves into war’s emotional and psychological impacts. How has your artistic perspective evolved since the invasion began in 2022?
This exhibition is a culmination of works created over three years. As I gathered pieces from different periods and locations, I was struck by the collection’s coherence. Being in forced exile makes it difficult to remain an artist, let alone develop further, but I strive to do so. “Three Years of February” represents a frozen moment—my February, where time stands still.
Among your works depicting devastation and resilience, is there a particular piece in this exhibition that holds special significance for you?
The central piece, “Pyramid of Death,” was painted in Turin during my residency at the Societe Interludio gallery, under the support of gallerist Stefania Margocchi. Turin, often called the capital of magic, is a city of mysticism, rumoured to be where the gates of hell lie and the Holy Grail is hidden. While working there, I experienced vivid, almost supernatural dreams. This pyramid is a portrait of spirits—people who perished in Bucha. I intend to capture the souls of the lost, and I believe this work connects Mexico, Lithuania, and Ukraine through Italy, where it was created.
Your documentary, “Russian Woodpecker,” foreshadowed Russia’s aggressive expansionism. Do you see parallels between your storytelling approaches in film and painting?
Yes, several of my paintings share the same title. My triptych dedicated to this theme features the structural elements of the Russian Woodpecker, including its arc-like framework and the woodpecker motif itself. My storytelling in both mediums follows a similar pattern: uncovering hidden truths and weaving visual metaphors to communicate deeper meanings.
As an artist in exile, how do you maintain your connection to Ukraine, and how has displacement influenced your creative process?
I occasionally invite Ukrainian artists to Bulgaria to maintain a sense of community despite the distance. At the same time, true art transcends location—exile does not sever my connection to creativity; in many ways, it intensifies it. Many great artists have been exiles and travellers, and I believe this is the very essence of art: movement, evolution, and a continuous search for meaning.
Could you share a particularly joyful moment in your artistic career and what you appreciate most about your creations?
There have been several defining moments—my first oil painting in Sozopol in 1997, my first love that summer, and my admission into the academy. Travelling to see Pierre Soulages’ “Black Light” exhibition in 2001 was another unforgettable experience. In 2004, I visited Karlštejn and was profoundly moved by Theodoric’s work, much like when I first saw Fra Angelico’s blue. Both Theodoric and Soulages mastered using black, and their work helped shape my understanding of painting. My time at the Academy of Arts from 2007 to 2011, in an artistically vibrant commune-like setting, was incredibly formative. More recently, my experience in Turin in 2023 was surreal—full of work, strange dreams, and the creation of “Pyramid of Death.” I am deeply grateful to Eduardo Librato and Stefania Margocchi for their support and my time in Turin, which was nothing short of mystical.
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