Stella Sevastopoulos catches up with Athens-based artist Petr Shevchenko, who will be hosting an open studio event on February 8 entitled “Going Beyond”, with the support of Domus Art Gallery

FROM AUTOMATISM to beyond Abstract Expressionism, artists have used art as a medium via which they can delve deep into the human psyche. And Petr Shevchenko is one such contemporary artist, unafraid to explore his inner abstract self, to have a dialogue with his demons on the canvas yet also to explore existential thoughts. Furthermore, he combines them with his beliefs in beauty and harmony, giving them form and colour via the language of art, and especially of painting. He is a firm believer in reincarnation, and of the spiritual world, and this comes through in his abstract art, because he feels that it is via abstraction that he can best portray the world of energies, invisible to the human eye. Shevchenko’s open studio event, entitled “Going Beyond”, to be held on February 8, and supported by Domus Art Gallery, is an opportunity to get to know the artist and his work, and to experience his spiritual artistic vision.

An artistic shaman of sorts, with a strong philosophical foundation, Shevchenko has connected with Greece on many levels, and not just artistically, seeing as he has uncovered past memories here. After completing business studies in Switzerland, he decided instead to pursue his real passion – art, in Greece, a country which for some reason beckoned him to move here. And so, after completing a BA in Fine Arts and New Media at AKTO in Athens and Middlesex University, he continued his artistic adventure under the Attican light, exhibiting in solo and group exhibitions (both in Greece and abroad), and exploring his own artistic conscience in the process, but focusing all the more on what he has termed the “intangible metaphysical essence of existence”. Because as Shevchenko points out, seeing isn’t always believing, considering that there is so much that we as humans can’t perceive with our eyes, which nevertheless exists. And Shevchenko’s art sensitizes us towards that unseen reality. Let us consider that each animal sees the world differently, and so what humans see, is limited by the scope of their vision. Shevchenko wants to go beyond the scope of human vision.

Having realized 6 solo exhibitions (at the Historical Archives Museum of Hydra, Caramel in Rethymno, at the Pallas Athena, Domus Gallery Athens, the Giardini in Venice, and at the Stoa of the National Kapodistrian University), Shevchenko has also participated in a variety of group shows in Chania, Rome, Athens and St Petersburg. His solo exhibition “Entropy” which took place in 2023, in the Stoa of the National Kapodistrian University was a combination of his most esoteric works, dealing with forms and archetypal symbols whilst exploring the power of colour in the process. Influenced by the trying times of recent history, affected by wars, environmental issues and the covid pandemic, the works reflect Shevchenko’s belief that “When the routine and [the] habits of reality begin to crumble, systems start to ache and chaos fills the air, it is crucial to keep believing that the universe has a plan. One’s highest function becomes the nurturing of light, hope and ethic.” 

Shevchenko’s work connects with that of other artists who were interested in a more spiritual path for art – Klee, Kandinsky and Klein for example. The visionary artist and writer William Blake once said ““If the doors of perception were cleansed every thing would appear to man as it is, Infinite. For man has closed himself up, till he sees all things thro’ narrow chinks of his cavern.” Infinity therefore, is one of the subjects that often appear in Shevchenko’s work, expressed via the symbol of the number 8, often combined with the number 5 which symbolizes expansion. As Shevchenko explained in an interview with curator Valeria Gorbova, the combination of these two numbers for the artist mean “infinite expansion”. Vortexes, spirals, circles are some of the forms that primarily concern the artist. These are forms that reach back in time and are to be found in natural forms, archetypal symbols, in science and religion. They too speak of infinity, and the universe’s constant recycling of matter and energy.

To be immersed in Shevchenko’s art is to go beyond the material world, beyond the facts, and into the world of unknown possibilities. There, where the unseen energies that govern our existence, interact with our own energy, feelings and subconscious. Shevchenko’s work makes us realise that from the inner mind to outer space, everything is connected in one way or another. Ekckhart Tolle has said: “You are the universe, expressing itself as a human for a little while”, but in the case of Shevchenko, that human is an artist, connecting with the universe.

What follows is an interview with Shevchenko, who explains to us in more detail his artistic adventure so far:

First of all tell us about your previous solo art exhibition “Entropy”, curated by Konstantinos Basios at the Side-Way Stoa of the National Kapodistrian University of Athens. Why “Entropy”? And how did this exhibition come about.

I was very eager to make this exhibition happen since before the pandemic. This exhibition was a result of a selection of my work presented under the thorough and heartful curatorship of Mr. Konstantinos Basios. I insisted on the title, “Entropy” because this term is directly relevant to the cognitive proposal contained within the exhibited paintings. Entropy has a meaning in both physics and metaphysics and is a naturally occurring process which we as a society should learn from rather than observe and fear. It is a phenomenon which can help a system evolve into a more harmonious state. Despite the inevitable, pandemic related delay, its message might be even more actual now, when the global systems are facing disorder on a continuously growing scale. Regarding the location, I was very fond of the format of this exhibition because it impacted the public space around it and interacted with any spontaneous ‘passer-by’. One of my artistic goals is to be able to place artworks within public urban spaces and this exhibition was the closest I have got to it so far. Last but not least, the exhibition space is part of the Kapodistrian University of Athens and I feel humbly honoured by this collaboration.

You moved to Athens from Geneva, and dedicated yourself to your art practice here, obtaining a BA in ‘Fine Arts & New Media’ after having studied ‘Finance & Luxury Goods’. What prompted this change of course in your life?

I think that any education is a useful instrument, however my personal goals were always related to art and self-expression. Therefore once I had completed the, should I say, “ more practical” studies in Switzerland, I allowed myself to dive into what was really dear to my soul. My self-searching at that point also demanded a change of environment and Athens was in ways an intuitively desired location. I took a leap of faith and moved here. Eventually I had completed art studies here, in Athens and my conscious artistic endeavour began in this wonderful lively city.

In a previous interview with curator Valeria Gorbova, you talked about how Athens isn’t London or New York. Nevertheless, there is an active and interesting art scene here, which is growing constantly despite all odds, and becoming all the more international in the process. What has your experience been of the art scene of Athens so far?

Athens is a melting pot with an incredibly vivid and cinematographic setting which attracts artists and life-curious people from all over the world. This city is beautifully non-homogenous and is filled with inspiring spontaneity. The social dynamic here is addictive and self-expression seems to be a norm within the Greek mentality, which makes it a desirable climate for artists. I feel that the current Athenian art scene has a lot to offer, however the possibilities here are fewer than those in the already established European art centres, such us London or Paris. The existing European art centres are perhaps becoming oversaturated in the last years which consequentially makes many art professionals notice Athens since it has a lot to offer and there is space to expand, while the local charmingly chaotic lifestyle is very artistic in its nature. Seeing the interest of foreigners along with increasing investments into the local art scene, I believe Athens is gradually going to become a new European art hub.

How do contemporary art movements affect your work? Many artists feel pressured into conforming to certain rules and expectations.

I am interested in various art movements and sometimes they can play a motivational role but I would not say that I feel pressured. My own critique of my work is my strictest judge and therefore any external pressure fades in comparison. I think this is the case for most artists out there.

There is a spirituality in your work, and you have been described as an artistic shaman of sorts. How does your art process connect with mysticism, spirituality and the metaphysical?

I have been very interested in the metaphysical and the non-tangible from a young age. I feel that life itself is a process of research and discovery of how this reality really functions. I seek to comprehend the non-physical mechanisms that are the very drivers behind everything, including the very physical aspects of our realm and this process is reflected through my art. Sometimes I attempt to give a visual format to matters that do not have a ready visual format. It is my attempt to communicate my understanding of certain concepts to the viewer while the very process of expressing something visually, often allows myself to comprehend it in more depth. I believe that the reality that surrounds us is tremendously more complex than what society is told to believe. In that grandiose complexity of things, there is a type of logic and ‘skeletal’ structure and this very concept has been my biggest interest, both personally and artistically speaking.

Abstract vs figurative: These are both elements of your work although the abstract is the dominant realm. You have stated also that “abstract thinking is an essential survival skill which needs to be emphasized”. Tell us your thoughts on the importance of abstract art.

I believe that visual abstractions provoke abstract thinking, thus exercising the cognitive instrument in a very efficient way. When one’s cognitive patterns become more complex and multilayered, one’s conclusions and understanding of certain matters becomes more spherical and thorough. I feel that modern society is losing the depth of its cognitive instrument despite or due to all the available technologies and this alone can be the cause of many problems that our civilization is facing. I gravitate towards abstract art however, figurative elements can sometimes serve as a hint, giving more sense to a visual concept. I sometimes employ both in my work, depending on the idea that I am trying to communicate.

The spiral, the vortex, the inkblot, the grid or maze: These are all elements that recur and are explored in your work. Plus a few cats pop up here and there! What do these elements mean to you?

The elements you mention, have essential symbolisms relating to the structure of both energetic and physical levels. Everything works in patterns and everything is built on patterns and opposing forces. An inkblot is a spontaneous element while a spiral or a grid has strict visual logic. Nature and physical reality are structural in their essence but the chaotic element of seemingly spontaneous occurrences is perhaps what creates life. I seek to explore these concepts visually and therefore these elements often appear in my works. Some of my works address structure while others address spontaneity or the coexistence and interdependence of both. The cats that sometimes appear in my works also hold a symbolic function. I love all animals but cats are my weakness because I feel that they are very aesthetic, mysterious, wise and yet funnily spontaneous beings. According to some beliefs felines are capable of perceiving an energetic plane of our reality to which humans are usually non-perceptive.

You have exhibited your work in many interesting spaces both here and outside Greece. However, two of the most interesting were your solo exhibition “Undo Everything” at the Venice Giardini (in 2019), and your participation in the group exhibition “Dei Kunst ist ein ausweg bei sexuellen problem” at the Freud Museum of St Petersburg (in 2018). Tell us about these exhibitions.

“Undo Everything” was a collateral event during the opening of the Venice Biennale in 2019 which had a strong personal significance for me since I was presenting my new holographic light installations right next door to my most beloved art event. Venice is like a fairytale by itself and the Venice Biennale is an absolutely grandiose array and dialogue of international arts. I have attended the Venice Biennale multiple times throughout the years and every single time I found myself heavily and beautifully influenced by each of those visits. The participation at the group exhibition at the Freud Museum in St. Petersburg was almost a spontaneous occurrence. Frankly speaking, the title of the exhibition held little significance for me, however once I was offered to participate, I gladly accepted because it seemed to be an interesting challenge to express myself on a topic that falls outside of my usual area of interest. Also St. Petersburg is a beautiful city that breathes arts and culture and it felt like a sort of a privilege to be able to exhibit there.

What are you working on at the moment and what’s in store for 2024 so far?

I am working on a series of new works, including new light installations. The year will most likely bring several interesting group exhibitions and another solo exhibition is in plans but no concrete dates yet. On February 8, I will have an open doors soiree at my atelier in collaboration with Domus Art Gallery and a dear friend, gallerist and art lover Glenda Lorenzani. It is promising to be a pleasant event where people will be able to come and familiarize themselves with my work and also with my atelier which is a significant element of my artistic process.

What are the thought processes behind your new work?

My new works will continue my ‘dialogue’ with the viewer on topics of metaphysics and their relation to physicality. I am happy to admit that my research/creation process doesn’t stop and some new ideas along with new techniques are in the making. There will be a small series of new works using paper. It is a material that I usually try to avoid due to its fragility but now I am interested to give it a go and see how this will turn out. The thought processes behind my new works will not change and the theme will remain the same but some ideas and visuals are evolving inside me and I am looking forward to letting them out.

• “Going Beyond”, Petr Shevchenko’s open studio event “Going Beyond” will be held on February 8, 6pm-12am, at the artist’s studio: 62 Kolokotroni St, Psyrri, Athens.
• For more information you may also visit Domus Gallery and the artist’s website but also his account on instagram