Alexander Roschin was born on October 8, 1988, in the city of Satka, Chelyabinsk region. From 2006 to 2012, he studied architectural environment design at the South Ural Professional Institute.
Between 2011 and 2016, he worked in the field of fashion illustration.
He collaborated with Peugeot, H&M, Chanel, MAC, Sony Mobile, The Ritz Carlton, and Harper’s Bazaar Russia.
Alexander’s art intricately weaves together his temporal context and subconscious concerns, exploring the interplay between the natural and spontaneous versus the technological and controlled. His work reflects a dialogue between his childhood memories and his adult state of mind. The fragmented, melting elements in Alexander’s pieces symbolize the disjointed nature of memory and dreams. Utilitarian objects, such as tiles, serve as symbols of the Soviet era, ubiquitous in settings from kindergartens to hospitals.
Architecture in artist’s work is tied to the process of leaving, which is associated with avoiding pain from relationships with parents, partners, and the state. This perception acts as a protective function, with memory elements extracted from everyday life, like fragments left in untouched spaces. What was once alive and tangible only in memory transitions into the collective consciousness, akin to digital icons. This transformation highlights how personal memories can evolve into shared cultural symbols, bridging the gap between individual experience and collective identity.
Between 2011 and 2016, he worked in the field of fashion illustration.
He collaborated with Peugeot, H&M, Chanel, MAC, Sony Mobile, The Ritz Carlton, and Harper’s Bazaar Russia.
Alexander’s art intricately weaves together his temporal context and subconscious concerns, exploring the interplay between the natural and spontaneous versus the technological and controlled. His work reflects a dialogue between his childhood memories and his adult state of mind. The fragmented, melting elements in Alexander’s pieces symbolize the disjointed nature of memory and dreams. Utilitarian objects, such as tiles, serve as symbols of the Soviet era, ubiquitous in settings from kindergartens to hospitals.
Architecture in artist’s work is tied to the process of leaving, which is associated with avoiding pain from relationships with parents, partners, and the state. This perception acts as a protective function, with memory elements extracted from everyday life, like fragments left in untouched spaces. What was once alive and tangible only in memory transitions into the collective consciousness, akin to digital icons. This transformation highlights how personal memories can evolve into shared cultural symbols, bridging the gap between individual experience and collective identity.
Sasha Roschin