Alex Kuznetsov Belarusian , b. 1978
Alex KuznetsovHorizons #3, 2019Acrylic on Canvas150 x 100 x 3 cm£ 3,300.00
59 1/8 x 39 3/8 x 1 1/8 in
Alex KuznetsovUntitled "Numer 2", 2019Acrylic on Canvas120 x 120 x 5 cm£ 3,000.00
47 1/4 x 47 1/4 x 2 in
Alex KuznetsovUntitled 'Numer 1, 2019Acrylic on Canvas120 x 120 x 5 cm£ 3,000.00
47 1/4 x 47 1/4 x 2 in
Alex KuznetsovUntitled , 2016Acrylic on Canvas146 x 89 x 5 cm£ 3,000.00
57 1/2 x 35 1/8 x 2 in
Alex KuznetsovDualism , 2015Acrylic on Canvas130 x 97 x 5 cm£ 2,650.00
51 1/8 x 38 1/4 x 2 in
Alex KuznetsovBlue Energy Circle , 2014Acrylic on Canvas130 x 97 cm£ 2,800.00
51 1/8 x 38 1/4 in
Self-taught as an artist, Alex was introduced to Street Art and Graffiti in 1998. He set up well known in post-Soviet area and Europe graffiti crew True Stilo and worked on streets under nicknames: Liquid, Ners, Awek, Temos, Monk. They were the first ex-USSR graffiti crew participated in International Street Art events such as Meeting of Styles in 2002 and later in Netherland, Belgium, Poland, Germany and France.
In 2007 Alex moved to Moscow and in 2010 made his first steps into abstract art and began work in studio. After showing his work in Barcelona in 2013, Kuznetsov work was introduced to the Switzerland by Speerstra Gallery lately same year. In 2014 he attained an international recognition after having a group show in Museum Moscow and solo show at the MSK Eastside Gallery in Moscow as well as artist residency in London at Distill Ennui Studio run by Alexander James and group show in San Francisco at 1AM/SF Gallery.
His artworks has been featured in galleries and private collections in New York City, San Francisco, London, Seoul, Hong Kong, Brussels, Geneva, Paris, Monaco, Barcelona, Moscow, Minsk.
Artist's painting practice is concerned with states of flux and impermanence, furthered by research into spatial and temporal concerns in a comparison of social and urban timeframes. His process-led, abstract painting practice employs a tempered gestural language where fluidity is a defining material concern and the process of erasure has equal importance to the intuitive application of paint. This examines states of presence and remembrance by exploring a tension between control and chance.