Plot and compositions of works are visually related to the archetypal symbols of pre-Renaissance cultures. Boris Rodnyy contemplates and reconstructs traditional symbolic forms, based on which he creates his own sign system, the informational modules of which project a model of the world emerging from the chaos of nothingness. This strategy resembles the myth of the creation of the universe, where the artist takes on the role of the Absolute Creator, closer in image to a shaman or demiurge than to a modernist author. But even among the artists of the twentieth century, Boris Rodnyy could have found like-minded individuals striving to penetrate the essence of the unseen.

SERIES: COSMOGONIC MYTH I

The way Boris Rodnyy realizes this idea is reminiscent of a trance-like state. He paints with a single line, almost never lifting it from the canvas. His meticulous, filigree graphics could be blueprints of the lost Atlantis, revelations of mystical ancient Chinese plastromancy on turtle plastron, fragments of the enormous geoglyphs of Nazca in Peru, or Tibetan sand mandalas. Rodnyy's visual imagery astonishingly combines the cold logic of Western culture with the irrationality, nature-centrism, and cyclicality of Eastern worldview.

The laboriousness of the process and the detail of the compositions is key to understanding the concept of his series. Upon closer examination of his meticulous graphics, a mystical feeling arises that each painting functions as a fractal leading to the next canvas. The emergence of infinite multiplicity upon approach unites Boris's creativity with the diverging paths of Jorge Luis Borges and the rhizome of Deleuze and Guattari. The visual code created by Boris unites the digital virtual present with the modernist past, making his works simultaneously timeless and relevant.

SERIES: COSMOGONIC MYTH II