Sergey Fedotov’s love of painting is obvious, revealed by the complete emersion into a magical world that seems to propel his subjects into a post-surrealist trance with bits and pieces of recognizable forms that go in and out of our consciousness. Sergey obviously is enjoying his journey into the realm of bringing to life portraits of artists whom he admires, such as Van Gogh and Cézanne. In one series of self-portraits, the artist captures his personality as reflected in a studio mirror, which sets a dramatic mood and echoes in his titles: Self-Portrait for Hell and Self-Portrait in a Straight Jacket.
Works that are impressive on a thematic basis are the swirling landscapes, which substitute swaying trees for limber dancers, color field compositions that pay a remote homage to contemporary abstract landscape painters like Wolf Kahn, and surprising outdoor narrative works by Jules Olitski and Larry Poons, who, up until the last decade, were celebrated for their textural surfaces without a hint of realism. One remarkable facet of Sergey’s unique style is the swirling, idiosyncratic surface energy he is able to create, which enables the viewer’s attention to flow effortlessly and subconsciously from one side of the canvas to the other in an uninterrupted, predetermined pattern. Also, it is important and appropriate to note that the artist considers each brushstroke carefully, as he builds a physical and theological visual storyboard that requires a steady hand moving quickly and intuitively.
Here is an artist who apparently had been painting for less than fifteen years, after a successful career as a physicist while he maintained an equal, ongoing passion for artistic expression that in the end won the battle. Influenced by the emotional experiences and lasting impressions of visual harmony, the artist applied his ambitious appetite for experimentation and intellectual curiosity from his other disciplines directly to finding his own idiosyncratic voice on a canvas surface.