A symbolist artist whose canvases vibrate with palpable energy, Laponov's work transcends mere aesthetics, offering viewers a portal to another dimension. In an exclusive interview, the enigmatic artist delves into his creative philosophy, the ancient influences shaping his contemporary practice, and his unique perspective on art, luxury, and the elusive nature of inspiration.
A symbolist artist whose canvases vibrate with palpable energy, Laponov's work transcends mere aesthetics, offering viewers a portal to another dimension. In an exclusive interview, the enigmatic artist delves into his creative philosophy, the ancient influences shaping his contemporary practice, and his unique perspective on art, luxury, and the elusive nature of inspiration.
November 4, 2025
A symbolist artist whose canvases vibrate with palpable energy, Laponov's work transcends mere aesthetics, offering viewers a portal to another dimension. In an exclusive interview, the enigmatic artist delves into his creative philosophy, the ancient influences shaping his contemporary practice, and his unique perspective on art, luxury, and the elusive nature of inspiration.
When asked about the contemporary artist's mission, Laponov offers a refreshingly unburdened perspective, shunning the confines of predefined roles.
"To be honest, I don’t see any particular need to look for a common missionary denominator for a contemporary artist or artificially derive it. Any framework is an obstacle to creativity, and any attempt to template is to stop the freedom of art."
He observes the current resurgence of manifestos as a constantly returning trend, a lively reaction of creators to certain major events of sociocultural, political and other spheres. These, he notes, are peculiar fixations of the opinions of large masses, short-term hot bursts about acute, topical, hype. Yet, history reminds us, the diametrical turns of the worldviews of the creator, and with them, the very missions pursued by them, happen at least often, this is normal. For Laponov, limiting an artist to dry formulations is short-sighted and oppressive.
"The artist should not speak loudly, but also the artist should not speak quietly. The artist simply should not."
This liberating philosophy underscores his commitment to unfettered creation, allowing his inner world to manifest without the constraints of external expectations.
Laponov's artworks possess an uncanny ability to transport the viewer, offering glimpses into "the 'other' space, time, sparks of the ancient, half-forgotten, synthetic, but also the real world." This profound effect, he humbly admits, signifies his success in conveying his message.
"All the magic is in the eye of the beholder, or rather in his ability to accumulate his consciousness and mental memory."
He believes that millennia flow in our blood; what our ancestors believed in, what they feared, and what they worshiped is imprinted in our cultural code forever. What was once a tangible experience gradually recedes into the subconscious, becoming part of irrational, almost magical categories.
This fascination with the inherent human connection to the past fuels his experimental approach
"I like to experiment with this, with combining the ancient with the modern to trace the relationship of times and find semiotic combinations that build a bridge over the abyss of centuries. It is a kind of 'neo-shamanism' if you want."
This journey into the collective unconscious, blending historical echoes with contemporary sensibilities, is at the heart of his captivating visual narratives.
Laponov's unique authorial technique, particularly his profound use of gold, stems from an unexpected yet fated encounter with the world of icon painting. He confesses he did not come to this technique and this style in general immediately. His artistic journey led him through periods of intense figurative work, followed by a complete immersion in abstraction, always grappling with a "duality" in both form and essence. It was his discovery of icon painters and restorers that proved "fateful." He describes this revelation not through mysticism, but as a genuine artistic awakening.
"The flow power, the altar of the word, the sacrament. This was the moment since my inner world was allowed to express itself. I am not afraid of the word, the sacrament."
In his work, Laponov employs the "classical (orthodox) technology used by professional icon painters." He meticulously "kneads the levels, makes a cut (with a conch) and perform oil painting." However, the most important element of his work, the energy and semantic center, is gold. He honed his skills in restoration workshops, acquiring "necessary skills, learned many technical secrets for working with gilding, and also supplemented my knowledge of iconography and even theology." Despite this profound influence, he maintains his identity as a secular artist, addressing the issues of interpretation of multicultural relations.
Gold, for Laponov, is far more than a material; it is a conduit of ancient energy and meaning.
"For many cultures of antiquity and modernity, aurum has a certain magical character. In Christianity, Buddhism, Zoroastrianism, Islam, and Judaism, gold played an important role both in cult-like and in practical meanings."
He highlights its connection to "the cult of light, sun, fire, and purification for many cultures [as] the fundamental leitmotif." For Laponov, its role in contemporary art is as "a pointless cultural artifact, as a fixation of a person’s relationship with an object of nature sacred to him. The meticulous process of gilding demands special care, perseverance, skill and, probably, a special emotional disposition. The conscious application of cult and esoteric symbols, combined with gold's ancient energy, "brings a shade of true magic to the work process." The rhythmic, almost meditative act of "the monotony of the movements of the hand and the smoothing the gold echoes the beating of the heart. The flow of thought slows down, and somewhere at this stage the unconscious is actively connected. This deep, almost ritualistic engagement with his materials imbues his art with its distinct, otherworldly quality.
Laponov's works, while lauded and collected, remain notoriously difficult to acquire. His paintings are featured in prestigious institutions like the Odessa Museum of Western and Eastern Art and numerous private collections, both in Ukraine and abroad. Yet, they are "practically inaccessible to buyers." The reason, he explains, is profoundly personal. He elaborates that when an artwork enters a state museum, it becomes the part of the public domain, while in private collections, it transforms into someone’s personal relic, or an object of research.
As a secular artist and a seeker in a universal year, he simply does not have the "production volume of some painters." He exhibits rarely, Laponov often finds himself not ready to put on the open market what is not only paintings for hum, but an actual fixer of modern man’s perception of all universal human baggage of symbols and signs. While he desires his works to be "both in private collections and in museums, wherever they would arouse great interest," the emotional connection to his creations is paramount.
Regarding inspiration, Laponov reconciles the seemingly opposing views of Napoleon I Bonaparte, who called it "a quick calculation," and Alexander Pushkin, who defined it as "the ability to bring oneself into working condition." For him, inspiration is "an overwhelming and all absorbed perception that leaves the banner of goals and objectives. The thirst for action and embodiment of an instant calculation caused you in working condition. His advice? The main thing is to try not to restrain yourself and be open to this feeling, to let it fill all corners of your nature. And then, with the right dosage and nourishment of your creative enthusiasm, this process can become very long and fruitful.
On the intersection of art and luxury, Laponov offers a nuanced view. He acknowledges that his works "could be attributed to luxury because expensive materials are used to create them. Each work is born out of a long process and high costs." Yet, he hopes "art to be more accessible." For Andrey Laponov, the essence of a luxury lifestyle is simply the freedom of action and choice. This resonates deeply with his artistic philosophy, where true luxury lies not in possessions, but in the unbridled freedom to create, explore, and connect with the profound depths of human experience.
