This Russian artist combines icon painting and sci-fi


At first look, Anton Frolov’s work remind of the fashion of historical Russian iconography. But, as an alternative of saints, he depicts aliens and fantasizes about know-how of the long run.

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 by the unimaginable sci-fi illustrations by artist Robert Avotin that have been revealed in Soviet publications and magazines. “Fragile, mysterious, illusory worlds, stars floating in a mystic haze,” all captured Anton’s creativeness.

Artist Robert Avotin.

Artist Robert Avotin. “The Founders of Heliocentrism.” Reproduction

Khomenko/Sputnik

Now he has develop into an artist himself. The fashion of his work is harking back to Old Russian icons. He works with wooden, tempera and gold leaf gilding. However, his “icons” do not depict saints or biblical scenes, however reasonably 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 by 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 known as his personal fashion ‘iconic futurism’, and it is a synthesis of spirituality and excessive know-how. Below are just some 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 pink 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 in opposition to 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 method, which is shading in gold. It was utilized by iconographers and painters of the Palekh college 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 information. 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 affords fantasy portraits of the members 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 regulate 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 still from 'Alien'

A nonetheless from ‘Alien’

Ridley Scott/twentieth Century Fox, 1979

Byzantine radar, 2022

Anton Frolov

Ephemeral Byzantine pictures 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 which 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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