10 Questions with Art Sokoloff

Art Sokoloff is a multidisciplinary artist living and working in London, UK.
His research and projects center around the creation of structure-based abstraction.

He recently completed his MA in Print at the Royal College of Art. Previously he received a BA in Architecture at the Moscow Architectural Institute, the Russian Federation (2018), and two additional courses at the Higher School of Economics in Moscow, the Russian Federation (2017, 2018).

He has been awarded the ColexArt Website Prize 2021 and has been shortlisted for the Signature Art Prize 2021 and the Visual Art Open (2020, 2021).

Recent shows include London Grads Now. 21 at Saatchi, London, UK; RCA Degree Show at Cromwell Place, London, UK; Teachable Moment at Stove Works Gallery, Chattanooga, USA; Intaglio at Megalo Print Gallery, Canberra, AU; Mirror Project at 104GALERIE, Tokyo, JP; US; 36th Annual at Southwark Park Galleries, London, UK, Perspectives at CICA Museum, Gimpo, KR; Dry Floor at Hoxton253 in London, UK.

2021.rca.ac.uk/students/art-sokoloff | @artsokoloff

ARTIST STATEMENT

Art Sokoloff is a multidisciplinary artist working towards the goal of creating systems centered around structure-based abstraction, both metaphorical and literal.

His current work is being made around the influence of rules applied in the crafting of game-like experiences. Taking on both the role of the rule-setter and the participant, Art is involved in the process of making "situations" (strict conditions with clear rules) and their subsequent resolutions.

"Sequence mapping," as well as his previous projects, investigate the theme of instructions and visual patterns. They are individually hand stamped/drawn in a time-consuming, laborious repetition. Using simple shapes, Art is creating orders, which are easily ruined by just one mistake, and as easily changed by just one alteration in the instruction. Using bold figures and regulated interactions related to them, such as multiplications and shift, rotation, and sequencing - Art aims to reflect on rule-based conceptual art.

Working in the "task-execution" mode, decision-making is carried out long before the physical making. Consciously implementing pattern esthetic and cross-disciplinary modes of making, Art is trying to blur the line between generality and particularity in his visual language.

INTERVIEW

Please, tell us a bit about your background and studies. You come from an Architecture background; how did you start making art? And are you still following the same aspiration? 

I got my BA in architecture at Moscow Architectural University and later acquired an MA in Print from the Royal College of Art. My fascination with the "surrounding" and a will to manipulate them in a certain way led me to the route of architecture, and without a doubt, the magical thing about architecture is its connection to all aspects of arts: you have to consider and work with space, materials, light, and acoustics. For me, the balance between special two and three-dimensionality was the most fascinating, and I consider that to be my artistic starting point. The main systematic element that I took from my studies and put straight to art was technical under-drawing because it provides a more profound interconnection to all the elements in use. To this day, this principle lies at the core of my practice.

What is your aim as an artist?

It's important to organize things. Both therapeutically and aesthetically, I depended on the structure of life and art. With all ideas, hopes, and dreams about the image of the coming day - the horizon of possible planning is changing drastically and disorderly. This process is chaotic and alienating, like being on a dark and tangled path.
To navigate the "path," there is a need to find regularities and signs in the seeming incessant chaos. I use my practice and principles within it as a tool to construct the typology for irregular, arising spaces of variables. 
While structuring and sequentially finding logic - I am steadily building the route as I'm going, line by line, shape by shape, step by step. When working with a delicate balance of laborious planning and execution, I found acceptance and allure of uncontrollable forces of chance in this meditative introspective investigation. Each new "study" of applied principles expanded the narrative of the unpredictability within rigid rules. 
I aim to be able to find and provide a path in its impermanence and constant flux.

Your art centers on "structure-based abstraction", as you mention in your statement. How did you develop this style?    

Since my architectural training - my visual language of choice has always been a highly structural abstraction. For quite a while, I was doing intuitive drawings that would slowly build themselves line by line, shade by shade, using the ink wash. I guess as a natural progression, I started to question the choices I would make while drawing: which sort of shapes, how many of them, in which sequence, etc., which led me to the idea that my practice is a sort of game I would play in. 
A big change for me happened during the pandemic - being restricted in a close environment with very limited resources and materials, art creation started to look like a puzzle. When choices are limited - creative solutions are a necessity, and everything depends on careful planning. I think in that period, I developed a particular liking of repetition (both in the process and in visuals).

Your paintings are highly influenced by rules and instructions; how do you set these rules? And how do these influence the final work?

The so-called "rule" is an arbitrary restriction I am putting on myself. To do so, I'm usually starting by selecting a certain type of element I want to work with. It can be color, shapes, objects, and timing of execution. After that, I start the long process of drafting, which helps with finalizing the overall approach, because it is always different from project to project.
Instructions in their final shape are more so an "inner logic" behind my works, although in some instances, they are direct steps I'm taking while executing the work (for example, in the "Synophones" project).

Where do you find inspiration for your work, and what is your creative process like? 

Incorporation is one of the main tools that I use: I pay a lot of attention to the surrounding objects, shapes, and shadows, so when something catches my eye - I simply than trying to find a way to use it in my work, no matter if its the main subject or an overall structural element for the composition. Considering that I primarily work with abstraction, the referencing process is always different, depending on the case, there is no stable routine.
I always try to create a series of works. Like I said before, my process is highly dependent on prior planning, so I guess it is only natural for me to then, while going through different options, try them out. And in doing so, I produce a more extensive body of work rather than a single piece with a "best" chosen drawing.  

Another important element of your work is visual patterns. How do you create them, and how do you choose the elements and colors to use?

My interest in patterns lies in the fact of how intuitively pleasant for the human eye they are; the result of a simple action of multiplication is always mesmerizing. I am trying not to think about the final form of the pattern before it complete itself - I'm concentrating on creating an initial bit or bits that will later form the overall "pano".
The colors that I'm using play the roles of shades, which goes back to my early-on use of ink-wash. I'm picking a neutral palette of primary colors but in a warmer tone. I think it's needed for my visuals because it provides more textural quality to them. I use simple shapes because it gives a bigger challenge to make it work in the right, engaging way.

Do you like experimenting with new mediums? And is there any medium or technique you would like to incorporate into your practice?

I am very keen on introducing new materials and forms of expression into my creative process! I made a temporary sculptural object for an exhibition in Hoxton253, which was fun and challenging. I would like to continue with this approach because I find immensely intriguing the border between solid experience and an illusive temporality of it. Using temporary site-specific sculptural installation and distinct objects - with the layer of digital post-modulation, I'm looking to create places like anywhere but nowhere, filled with particular but indefinite objects, merging compositions, proportions, and locations. With the documentation of selected stages and steps, I want to create a planned story, the narrative that is in place, regardless of the "empty" subject matter.

What about the public? Did you experience any change or improvement over the last years? And how does the public relate to your work?

It differs because it depends on many factors. For example, during the pandemic, I found myself being much busier than expected. A lot of people looked into art as an escape, so attention was high. Overall, the fluctuation is normal, the popular topics are changing, and the market differs. I think that the type of art that I'm making - is the type that slowly grows on you, it takes time, and the longer the viewer exists in the context of my work - the more he finds in it.

How did you keep your followers and collectors engaged? Did you take part in any online or offline exhibitions or events recently?

So far, this year has been intentionally slow for me. After a big group show at Saatchi gallery (London Grads21), I participated in a couple of events, such as the Woolwich Contemporary Fair, but overall I decided to give myself a pause from exhibitions to create mental space for reflection and formatting planning.
I'm carefully avoiding a distractive state of mind, where exhibiting as an activity becomes a priority - asking yourself questions like "when" and "why" concerning showing work is important for me. 
As for the followers and collectors - I'm still active on my social media, and it's the place to reach out to me in case of inquiries. Occasionally, depending on the project, I'm taking commissions as well.

Finally, what are your plans for the future? What do you think (and wish) the future holds for us?

At the moment, I am in the middle of the production of a new body of work, so it's hard to predict the outcome entirely. I'm taking a leap and, in a sense, going back to my roots - ink wash, but putting it in my current practice's context, which will be quite exciting.
I wish that the world would be a safer, more peaceful place, where people would look into art not as an escape but as a pleasure and occasion to retrospect.