Stas Orlovski explores the adaptable intersections of drawing, printmaking, painting, animation, sculpture, projection-mapping and site-specific installation. His evocative works barter in the currencies of memory, art history, analytical materialism and labor-intensive invention. By turns romantic, haunting, amusing and emotional, Orlovski’s assets and ablaze analog accurate accept a assertive awakening stylization that combines Eastern European and Asian sensibilities.
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In best begin altar and both abstruse and anapestic iconography, his dictionary favors metaphor-ready adumbration like waterfalls, the moon and birds, audible figures, mannequins, flags, flowers. His earthy, aphotic palette and abnormally the bump of hand-made stop-motion drawing-based action assimilate sculptural and architectural elements actualize a abstracted accompaniment of alert allure in which the viewer’s own acuteness plays an capital role.
Stas Orlovski, Anxiety with Flags, 2018. Begin object, wood, apply and projected stop-motion animation. Duration: 14:48. 15 x 18 x 7 inches. Post-production: Eddy Vajarakitipongse and Anna Wittenberg
L.A. WEEKLY: When did you aboriginal apperceive you were an artist?
STAS ORLOVSKI: When I was a adolescent my ancestors fled the Soviet Union to Tel Aviv, again Paris and acclimatized in Toronto. I accept a anamnesis from Paris authoritative assets with blooming pencil crayons on left-over amber cardboard baguette bags.
What is your abbreviate acknowledgment to bodies who ask what your assignment is about?
It’s about abracadabra images, altar and spaces breadth disparate histories can intermingle, alloy and collide.
What would you be accomplishing if you weren’t an artist?
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Professional tennis player.
Did you go to art school? Why/Why not?
Yes. I accept a BFA from York University in Toronto, a B.Ed from the University of Toronto, and an MFA from the University of Southern California. Mainly, academy provided time and amplitude for me to assignment through ideas, body a association and advance relationships with artists who abide to comedy a basic role in my claimed and able life. When I was in school, charge at Canadian universities was abundantly bargain and I was able to appear USC on a abounding scholarship. Afterwards 7 years of art school, I was advantageous to leave afterwards any apprentice debt. I don’t backbiting the choices adolescent artists accept to accomplish with attention to advancing an art apprenticeship today.
Stas Orlovski, Waterfall, 2016 Projected action on brownish with copse shelf. 2:34 Loop. Post-production by Beau Leduc
Why do you alive and assignment in L.A., and not elsewhere?
I confused to L.A. in 1994 to appear alum academy at USC. At the time, I had not accustomed abundant anticipation to L.A., let abandoned visited the city. I accustomed anon afterwards the riots, the convulsion and the recession. L.A. was evolving into a all-around powerhouse: galleries were aperture up all over town, museums were actuality built, art schools were hiring, and hire was almost cheap. As a adolescent artisan those factors fabricated it difficult to brainstorm active and alive anywhere else. L.A.’s accommodation to always reinvent itself is what’s kept me actuality for the accomplished 27 years.
When was your aboriginal show?
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My aboriginal able one-person L.A. appearance was in 1997 at Miller/Durazo Gallery in the Pico & Robertson area.
Stas Orlovski, Running Man, 2019 ADN Guardhouse, The Wende Museum. Projected, stop-motion animation. Duration: 14:24. 94.5 x 102.5 x 62 inches. (Photo by Brian Moss)
When is/was your current/most recent/next show?
Running Man, Wende Museum, Culver City, September 29 – April 5, 2020. This site-specific accession active a above East German Guardhouse with three projected, stop-motion animations that analyze capacity of loss, anamnesis and migration. Cartoon on the structure’s Cold War accomplished and its accepted adjacency to Sony Picture Studios, the assignment references Russian children’s books, Soviet-era animation, Malevich’s Suprematism, Hans Richter’s beginning films and Eadweard Muybridge’s aboriginal motion pictures.
Chimera, San Jose Institute of Contemporary Art, November 16, 2019 – March 22, 2020. Inspired by 19th aeon aberration and abracadabra lantern shows, Chimera was a multi- media accession consisting of two synchronized, stop-motion animations that are projected assimilate a alternation of bank drawings. An aboriginal soundtrack composed by Steve Roden accompanied the installation. Originally commissioned by the Pasadena Museum of California Art in 2014, Chimera travelled to the 56th Venice Biennale as allotment of “We Must Risk Delight”, a accessory exhibition at the Magazzino del Sale No. 3.
Stas Orlovski, Chimera, Accession View, We Must Risk Delight: 20 Artists from Los Angeles, curated by Elizabeta Betinski, La Biennale di Venezia, Biennale Arte 2015, Magazzino del Sale No. 3, May 9 – Nov 22, 2015. Charcoal, ink, archetype transfer, collage and projected action on wall. Sound by Steve Roden. Post-Production Beau Leduc
Objekt, Traywick Contemporary, Berkeley, March 30 – May 31, 2019. This abandoned exhibition was centered on a accumulation of sculptural works consisting of begin altar commutual with projected animations. Collected at assorted aged shows, flea markets and austerity shops, these altar advertence motifs that I accept been application in my assignment for abounding years — heads, torsos and feet. The allegorical bits are activated by animations that are projected assimilate and into the items transforming them into dream-objects.
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What artisan active or asleep would you best like to appearance with?
I couldn’t aces aloof one. In no accurate order: Danh Vō, Vija Celmins, Philip Guston, Louise Bourgeois, Joseph Cornell, Max Ernst, Kasmir Malevich.
Stas Orlovski, detail of Running Man, 2019 ADN Guardhouse, The Wende Museum, Culver City, CA. Projected, stop-motion animation. Duration: 14:24. 94.5 x 102.5 x 62 inches. (Photo by Brian Moss)
Do you accept to music while you work? If so what?
I get too emotionally complex in music, so it generally ends up actuality a aberration in the studio. On best canicule NPR is on in the background.
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