10 Questions with Alexandra Efimova

Alexandra Efimova is a young French artist of Russian origin. Her career began more than ten years ago while studying at the Imperial Academy of Arts in St. Petersburg. Alexandra already understood at that time that she did not fit into the framework of Russian art, and focusing on Western teachers and curators of the art residencies she visited, she began to search for her own language. Sometimes quoting the surrealists of the 20th century, the author introduces a new technical component by combining several different materials on one canvas. As the artist herself, born at the turn of two centuries, declares, the duality of character accompanies her in art. On the one hand, we see a rebel casually pouring paint on the surface; on the other, a diligent student painting competently, considering every detail.

Alexandra relies on symbols, the main one of which is the human body, as the main carrier and exponent of symbolic value. The torsos applied to translucent backgrounds emphasize the dual nature of the physical shell, which is at the same time endowed with fierce strength and fragility. For the author, the body is not a specific object but an ever-changing internal space with its own principles and laws of anatomical expediency. Also, in Alexandra's work, we can observe natural landscapes, silhouettes of animals, and birds - the author constantly reminds us of the inextricable connection with nature, and we see her concern that this connection is gradually being destroyed.

In addition to global problems, Alexandra trustfully lets us into her personal world, in which she reflects on her own identity. She is not afraid of a frank conversation about old age, death, pain, and worries and does not divide her characters into men and women. According to the author, all living things go through a certain cycle, during which they simply change their shell, living one life after another. She is interested in watching these processes and is happy to share her thoughts.

artmajeur.com/alexandra-efimova | @art_aleksef

INTERVIEW

First of all, introduce yourself to our readers. Who are you, and how did you start experimenting with images?

My name is Alexandra Efimova, and I am a French artist of Russian origin. My creative career began back in my student years, mainly in European countries. These were art residencies where I started as a young artist; today, my experience is more diverse. In addition to exhibition activities, today, I am also one of the curators of the residency of young artists in Spain.

You started studying at the Imperial Academy of Arts in St. Petersburg before moving to more Western-inspired approaches. How much does your background influence your current practice?

I felt a little uncomfortable during my studies. I studied at the Academy of Arts with a classical approach to learning. In my third year, I discovered Western art and felt an irresistible urge to experiment. I was attracted to such trends as surrealism, minimalism, and abstract expressionism. At that time, I did not understand the importance of my education. It seemed to me that I was shackled, not free, but only now I realized how important classical school had become for me. When you have a huge stock of knowledge in anatomy, academic drawing, and painting, you continue your journey more consciously, slightly modifying the presentation.

You are currently working with mixed media paintings. Can you tell us about the materials you use and why you're drawn to them? Are there any specific techniques or approaches you enjoy using when working with mixed media?

My work is a reflection of me, my character. I am not characterized by consistency, and I cannot be an artist working with any one technique. I am interested in the synthesis of several techniques in one work. On the one hand, the picture seems simple, but you can read signs from it for a long time and look for various textures and images. For the last six months, I have been working on printmaking and drawing techniques. Since moving to France, I have discovered a variety of printing techniques. I already had an exhibition of monotypes in 2020, but then it was just a monotype. Now, I complement the sheet with a classic drawing, sometimes combining prints, drawings, and collages in one series.

Can you walk us through your creative process when starting a new piece, from concept to completion?

I am planning a series of works first on paper. This is a long and complicated process, as I thoroughly prescribe the number and size of the work. It's like I'm applying for an art residency. I took this method from there, and now I also teach my students how to work according to the same principle. I go from the general to the particular because I think immediately about the format of the future exhibition, and I need to understand what and where it will be. Then, I get down to the practical part. If this is a triptych, then I take three surfaces at once and roll the backgrounds, then I deal with the details. I don't have sketches as such because if I make a carefully worked-out sketch, I burn out in the final work. Besides, I never knew what the result would be. Painting is like music to me.

As you mention in your statement, symbols are central to your work, especially the human body. How do you approach incorporating symbols into your artwork? How do you decide which ones to include in your paintings, and what significance do they hold for you?

The main purpose of my art is to convey information. But I understand that work is moving around the world, and I do not know all the languages. My task was to invent my own language. My language is visual. If you look at the works of different years, you can see the same elements (objects, animals, poses) moving from work to work. We all know what a tattoo is. A person searches for an image and information about it before getting a tattoo. So am I. Based on the experience of artists of the past, history, and symbolism, I study the meaning of an element, and if I feel that it resonates with me, I use it in my work.

In your statement, you also mention reflecting on global problems. What issues do you typically explore in your paintings, and how do you represent them visually?

To be honest, I am very concerned about what has been happening in our world for the last five years. This is related to both ecology and politics. Of course, there have always been some problems, but now I can't let go of the thought that humanity has decided to destroy the world and itself in this world. A huge number of disasters. Man imagines himself to be God and is waging an incessant war trying to subjugate the whole world. Yes, yes, it was the man who became the main character of my works. I am showing the reverse side of his essence. First of all, it is not immortality. The vulnerability of the body, the aging process, and death. It's inevitable. I believe that life is cyclical, and we just change the shell over time, but why not live in harmony with nature and with each other? Along with global issues, I also often talk about personal things, trying to share my experiences and be open. I also have fears, psychological moments, and disappointments, but this does not mean that you need to go to a neighbor who lives a little better than me and kill him because the sea is cleaner on his territory, for example. I'm speaking figuratively. My dream is harmony, and I call for it.

Could you share how your personal experiences and identity influence the themes and subjects of your artwork?

I think that different people reading the same article will perceive it differently. This is our personality, perception, and way of thinking. We are all different, and of course, I create my works based on personal experience. Undoubtedly, someone looking at my art will disagree and challenge me, but this is a reaction, no matter whether it is positive or negative. It's bad when she's not.

In what ways do you hope your artwork will resonate with viewers and provoke thought or reflection?

I have no desire to enrich myself. I don't dance with a tambourine on camera, and I barely open my eyes. Over the years of artistic practice, I have gathered an audience that I really appreciate and respect. People come and go. My goal is to do important things. As I said earlier, I was a student and received a classical education. In Russia, I had to climb all by myself to be able to do what I love. I know all the flaws and shortcomings, and now I'm trying to eliminate them and help young artists, making their formation a little easier. Most of them are my viewers. They once responded to what I was doing, and they wrote to me. I know some people remotely or personally. I am quite a closed person, but I am always pleased to hear kind words at exhibitions. And, of course, I would like to leave something necessary behind.

Is there any other technique or medium you would like to experiment with in the future?

Yes, my main dream is sculpture. I started sculpting back in Russia, but then there was immigration, now integration, and lack of time and space. I will overcome these difficulties, I am sure of it, and I will return to sculpture. I want to say a lot about this technique.

And lastly, speaking of the future, what are you working on? Do you have any projects or exhibitions you are currently developing?

Now I continue to work with the topic of body and make a large series of graphic sheets. I would really like to add sculpture to this exhibition, so I'm not in a hurry with a solo project. Now I am gradually immersing myself in the creative environment of France and participating in group projects in countries such as Belgium, Spain and the USA. But I also don't plan to shelve my solo project, so everything is ahead.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.