At first look, Anton Frolov’s work remind of the model of historical Russian iconography. But, as an alternative of saints, he depicts aliens and fantasizes about expertise of the longer term.
Anton Frolov (b. 1982) has been fascinated by science fiction since childhood, particularly Stanislav Lem and the Soviet Strugatsky brothers. He discovered a specific pleasure wanting via the unimaginable sci-fi illustrations by artist Robert Avotin that have been printed in Soviet publications and magazines. “Fragile, mysterious, illusory worlds, stars floating in a mystic haze,” all captured Anton’s creativeness.
Artist Robert Avotin. “The Founders of Heliocentrism.” Reproduction
Khomenko/Sputnik
Now he has grow to be an artist himself. The model of his work is paying homage to Old Russian icons. He works with wooden, tempera and gold leaf gilding. However, his “icons” do not depict saints or biblical scenes, however slightly tremendous civilizations, mysterious alien beings, synthetic intelligence and probably the most uncommon messages from different universes.
While experimenting with high quality artwork types in 2012, Anton made sketches during which he mixed the plasticity of Japanese manga and the laconicism of historical Russian iconography. Unexpectedly to himself, the artist discovered futuristic options in his works.
“They were sort of sketches of alien life forms that visited our world in the distant past and gave rise to intelligent life,” Anton says.
He referred to as his personal model ‘iconic futurism’, and it is a synthesis of spirituality and excessive expertise. Below are only a few of Anton Frolov’s works.
The Red Line, 2022
Anton Frolov
Anton admits that he could not end this portray for a very long time, till he discovered one lacking element – that skinny purple line. It symbolizes the road of “no return”, past which there’s solely destruction. And the guardian retains blocking the way in which to it.
The Scarlet Flower, 2022
Anton Frolov
This portray refers back to the fairy story ‘The Scarlet Flower’, a Russian model of ‘Beauty and the Beast’. Except that the flower is stylized as a proton scheme and it is the “omnipresent” tetrahedron that’s wanting on the world from behind the crowns of poplars as an alternative of the solar.
Different atoms, 2022
Anton Frolov
When first conceived, the iconographic faces have been to be depicted towards the backdrop of the planets and the cosmos. But, within the course of, Anton moved from the macrocosm to the microcosm, symbolically depicting “different atoms” (The title refers back to the novel ‘The Fog’ by Stephen King).
Antigravity, 2022
Anton Frolov
In this portray, Anton makes use of the assisto iconographic approach, which is shading in gold. It was utilized by iconographers and painters of the Palekh faculty of their miniatures. “With a thin brush, glue is applied and gold is laid on top. As a result, the gold plays at different angles, emphasizing the volume of the figure.”
Youth of the World, 2022
Anton Frolov
Not for the primary time, the backdrop for Anton’s iconic landscapes is structure within the spirit of Nineteen Seventies socialism. “An image of freedom and energy against a backdrop of whimsical architecture, soaring in golden infinity.”
Foton-1 and Foton-2, 2022
Anton Frolov
‘Photon’ is the sunshine of data. These cosmic faces are a reference to the Noon Universe from the novels of the Strugatsky brothers. The Yormala analysis group made a dive right into a black gap within the Darkness starship, however by no means got here again. Anton presents fantasy portraits of the individuals on this experiment.
Relativistic Horseman, 2022
Anton Frolov
This image is an allusion to the 4 horsemen of the Apocalypse and a mirrored image on man’s makes an attempt to manage our world. “Won’t progress accelerate humanity to the point where control is lost?” the artist wonders.
Kaleidoscope, 2021
Anton Frolov
This portray is a fantasy in regards to the colonization of Mars and the “gravity of masculine and feminine beginnings”, impressed by a scene from the film ‘Alien’ (1979) by Ridley Scott.
A nonetheless from ‘Alien’
Ridley Scott/twentieth Century Fox, 1979
Byzantine radar, 2022
Anton Frolov
Ephemeral Byzantine photos in entrance of brutalist structure inform of the isolation and loneliness of the digital world.
Mystery of the constellations, 2021
Anton Frolov
Reflecting on faith and science, Anton fantasizes about some third phenomenon that may come up from their fusion.
Fallen UFO, 2021
Anton Frolov
Science fiction usually refers back to the contact between humanoid and non-humanoid minds. And on this extremely complicated composition, Anton displays on the non secular contact between these two worlds.
Andromeda, 2016
Anton Frolov
And lastly, a sci-fi model of Our Lady.
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