The creativity of Boris Rodnyy, by combining anthropogenic and mechanical, vegetative, architectural elements ontologically originated from the Vienna School of Fantastic Realism, which founded in 1946 (Albert Paris Gütersloh, Erich Brauer, Ernst Fuchs, Anton Lehmden, Wolfgang Hutter, ideologist Edgar Jené), as well from «biomechanical art» and its father-founder Hans Rudolf Giger (born in 1940, Switzerland), it is also associated with Zdzisław Beksiński (born in 1929, Poland) and with artists of a younger generation (born between 1955-1973) working in the directions of biomechanics, cyberpunk, gothic, surrealism and steampunk, such as: Jan Pieper (UK), Dariusz Zawadzki (Poland), Kazuhiko Nakamura (Japan) - the celebrant of «automatons», Tomasz Strażalkowski (Poland)], Peter Grich (Czech Republic), Tetsui Ishida (Japan). Many of them practice CG (Computer Graphics) and digital painting, as does Boris Rodnyy. In the artworks of Andreas Basurto, Damien Hirst, and the neo-expressionist Jean-Michel Basquiat, the destruction of the human body and bones is an important marker that refers to the religious cult of Santa Muerte and thanatology. Similar elements can also be found in Boris Rodnyy's images.

However, in comparison with such an impressive list of predecessors and contemporaries, the art by Boris Rodnyy has a fundamental difference. It is not anthropocentric, tends towards symbolism rather than realism, and is directed not towards the desacralization of man, but, on the contrary, towards the sacralization of man and life, programming an exit from existential loneliness, the destruction of systems of spiritual values, the priority of the profane over the sacred.

If the Vienna School of Fantastic Realism, which emerged after World War II, reflected the «phantom pain», a reaction to the horrors of the war experienced, and the majority of the younger generation listed artists focuses on the apocalyptic nature of modernity, dehumanization, and on the penetration of digital and robotic techniques into human nature, showing man as more «mechanistic», or ideas of these artists resonate with political and social topics, the art by Boris Rodnyy carries a humanistic mission of returning man to himself, to acquiring by human the archetypal primordiality in the chaos of postmodern and technogenic contexts.

The creation of artworks by Boris Rodnyy is akin to a complex ritual and proceeds in several stages or «layers». As a foundation for his art pieces, he uses architectural and geographic projections, drawings of mechanisms from the 16th to 20th centuries, and outlines of drawings from ritual Indian fabrics and carpets with geometric, zoomorphic, ornithomorphic figures, and plant patterns. The decorative elements of Indian carpets represent symbols such as «saktapar», «singheliya» (symbol of fertility), «ddant» (charm against the evil eye), «kumbha», «karavai», «buti» («flower»), «paisley», «jivan vriksh» («Tree of Life»), and others encode Vedic signs of the earth, sun, fertility, abundance.

Other «layers» include pictograms and symbols from the Incas, Mayans, Aleuts, Aztec deities, Mesoamerican codices, ornaments from Scythian, Polynesian, Scandinavian cultures, many of which were sacred codes. Often these symbols and ornaments become the starting point for a journey across the canvas of the artist, who, trusting his subconscious, creates his own signs using the technique of automatic trance drawing. Boris works with both CG and acrylics and Posca markers. Together, they create a layered, informative, and visually complex surface.

These signs are not volumetric, but planar and linear. They resemble the geoglyphs of the Nazca Lines fallen into the sky, or a star map projected onto the ground. In Boris Rodnyy's coordinate system, there is no separate «earthly» and «heavenly». Disparate elements placed in one «cosmic» «universal» field of dark blue or black color appear similar to constellations in the night sky, and, shining through each other in the created multilayeredness, they not only form a postmodernist blend of «cultural layers», but also a physical, visual, and semantic depth of each work, projecting «metasenses» in the created «quasi-text» and demonstrating the union of times, peoples, cultures, and religions.

Boris Rodnyy considers the «randomness» of the arranged drawings as a chain of non-randomness, in which the quasi-text becomes a sacred hypertext, enriched with technogenic developments and a spiritual mythological language of symbols from ancient civilizations. He connects the cosmos and the earthly landscape, body and soul, substance and information, material and text, memory and genetic programs, emphasizing the structural similarity between these dichotomies.

It is through this that Boris Rodnyy overcomes the discreteness of the modern world, emphasizing its continuity, refrain-ness, isochronism, and polymorphism, directing the viewer's thinking towards the archetypal field of unity between man, nature, and the Cosmos. While working technologically as a postmodernist artist, he revives values characteristic of traditional cultures.

«Sacred things should not be understood only as beings called gods or spirits... anything can become sacred», wrote the sociologist and philosopher É. Durkheim, author of the concepts of mechanical and organic solidarity, in his work «The Elementary Forms of Religious Life». Durkheim interprets the sacred as a unified force, an impersonal «collective being», a «collective soul», which helps humanity to form and reproduce as a unified whole.

This is precisely the essence of Boris Rodnyy's art. He creates a matrix, a new visual pictographic language, a coordinate system in which any modern individual of any nation and culture can «reproduce», articulate themselves, feel the unity of the past, present, and future, finding their place within all of humanity.

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Boris Rodnyy