BATIK ART

Vladimir Kordiukov’s approach to textile art is marked by an extraordinary precision — a jeweler’s sensibility applied to fabric. His work transcends the traditional boundaries of batik, transforming the textile surface into a site of layered meaning, vibrant color, and intricate construction. Blending both hot and cold batik techniques, Kordiukov manipulates fabric with painterly freedom, yet technical control. He builds his compositions through successive layers of dyes, enamel, acrylic, and varnish, often integrating natural and synthetic fabrics, metallic foil, textured textiles, and found materials. The result is a hybrid surface that behaves like both painting and object.

Kordiukov’s artworks are also deeply architectural in feel — their segmented forms and glowing color blocks recall the visual language of stained glass. Like a contemporary vitraillist, he crafts light through opacity and transparency, guiding the viewer’s eye with rhythm and contrast. This resemblance is further enhanced by his use of textile collage, hand-crafted paper, and light assemblage, which elevate the surface into a textured, relief-like space. His visual syntax resonates with that of 20th-century German artists, particularly those from the Expressionist and Bauhaus traditions. Echoes of Paul Klee appear in his poetic abstraction and symbolic layering, while the material experimentation and surface logic of Anni Albers and the Bauhaus textile movement find renewed expression in his work. Kordiukov shares their belief that textile is not merely decorative, but conceptual — a vehicle for modern artistic thought.

There is a sense of narrative in his compositions — urban dreamscapes, mythological forms, musical echoes — all held within a precise framework of lines, colors, and materials. Each piece invites close viewing, revealing details embedded like artifacts in a mosaic. Over the years, Kordiukov has developed a substantial body of work in this technique, with a collection of over 50 pieces that showcase the full range of his expressive language and material experimentation.

TEXTILE COMPOSITIONS

In Vladimir Kordiukov’s textile compositions, the material itself takes center stage. Assemblage becomes a form of gesture, where fabric, thread, and found objects act not just as materials, but as autonomous visual elements. These works shift away from the fluidity of his batik pieces and move toward a denser, more tactile language. The stitching, layering, and physical presence of each component — from vinyl and copper to worn fabrics and chess pieces — suggest a practice rooted in process and transformation. There’s a strong sense of structure, where textile seams outline figures or still life forms that verge on abstraction. Through this, Kordiukov often flattens dimensional objects into planar, almost conical shapes, reminiscent of technical diagrams or ritual silhouettes.

This approach aligns his work with the spirit of the neo-avant-garde, where objecthood, construction, and surface become inseparable. The use of thread as line, textile as volume, and assemblage as image reflects an intuitive, hands-on methodology that borders on the sculptural. These pieces exist between mediums — drawing from painting, craft, and installation — and speak to Kordiukov’s position as an interdisciplinary artist. Rather than serving as decorative surface, fabric in these works becomes a language of its own: expressive, symbolic, and deeply material. The series represents a confident shift into a new medium — one that does not simply depict, but builds.

Vladimir Kordiukov as a Pastelist: The Power of Gesture and Color

Among the many techniques Vladimir Kordiukov has mastered, pastel stands out as one of his most powerful and expressive mediums. His work with pastel is not secondary or auxiliary — it is a full artistic language in its own right, capable of carrying emotional depth, rhythmic dynamism, and material richness. Whether depicting the human figure, still life, or symbolic interior scenes, Kordiukov uses pastel to build form through gesture, layering, and bold, intuitive mark-making.

His pastel practice spans a wide thematic range — from intimate nudes that explore the softness and sculptural presence of the body, to expressive and often abstracted still lifes rooted in everyday studio surroundings. The domestic and the sensual, the lyrical and the architectural coexist in this body of work. Over the years, Kordiukov has created a collection of over 200 pastels, each revealing his refined sensitivity to line, color, and the tactile possibilities of paper.

In this medium, Kordiukov confidently enters the lineage of the great masters of pastel — Paul Gauguin, Paul Cézanne, Odilon Redon, and Edgar Degas. Like them, he elevates pastel from a preparatory or auxiliary technique to a fully autonomous, expressive form of painting. His work demonstrates how pastel can capture atmosphere, emotion, and psychological depth with immediacy and elegance. Through his unique voice and consistent experimentation, Kordiukov asserts himself as one of the strongest contemporary artists working in this storied medium.

PAINTINGS 

Vladimir Kordiukov’s painting practice is defined by versatility — both in technique and visual language. Working across oil, acrylic, and encaustic, he approaches the canvas as a layered surface where texture, color, and form interact with equal weight. His use of encaustic, with its dense, waxy materiality, introduces a sculptural quality to the painted image, while oil and acrylic allow for fluidity, glazing, and chromatic contrast. Rather than committing to a single tradition, Kordiukov explores painting as a field of possibilities — shifting freely between figuration, abstraction, and symbolic construction.

His compositions move from classical still life structures to more experimental spatial systems. Some works evoke the legacy of modernist form-building, while others lean toward color field painting, built through rhythmic verticals and bold chromatic planes. At times, forms remain loosely sketched, deliberately unfinished, exposing the understructure of the image and emphasizing painting as process. In other canvases, volumes are fully developed — heavy, glowing, saturated — as if suspended in time. Across his body of work, one senses a deliberate refusal to settle, an insistence on allowing the surface to remain alive, in tension, open.

Rather than adopting a fixed aesthetic, Kordiukov treats painting as a multidisciplinary space. Figuration is approached with theatricality or symbolism; abstraction becomes architectural or lyrical; and formal clarity is often interrupted by expressive gesture. What emerges is a deeply material language — one that reflects both historical memory and personal rhythm. In this multidirectional practice, Kordiukov shows himself not only as a painter of images, but as a thinker of form.

ASSEMBLAGE

In Vladimir Kordiukov’s enamel-based works, one can trace a return to the artist’s earliest foundations — the precision and refinement of jewelry-making. Having trained in decorative and applied arts at the beginning of his creative path, Kordiukov brings those formative techniques into a new, expressive territory. Hot enamel, a traditionally meticulous and detail-oriented medium, becomes for him a field of experimentation. Here, it is layered, etched, poured, and contrasted with assemblage, hand-worked copper, and fragments of textured paper. The result is a series of works that shimmer with both symbolic charge and material density.

Across this extensive body of work — comprising nearly 150 pieces — enamel is never static. It shifts from iconographic linework to glowing abstract planes, often anchored by forged copper elements that serve as structural frames or visual counterpoints. The metal isn’t merely a support but a sculptural voice: hammered, riveted, bent into arcs and gridded frames. Paper, sometimes torn or collaged into the surface, softens the hardness of enamel and metal, bridging craft and drawing. These compositions occupy a space between the sacred and the industrial, between the ornamental and the constructed. Kordiukov’s use of enamel in this context is neither nostalgic nor decorative — it is expansive. It transforms a traditionally miniature medium into a monumental, interdisciplinary practice where surface becomes both site and subject.

COLLAGE 

In Vladimir Kordiukov’s collage practice, the material is never secondary — it is concept, image, and texture all at once. Nearly every piece in this extensive series of over 150 works is constructed using paper that has been hand-toned by the artist. This process of staining and manipulating surface gives the paper the appearance of stone, textile, or even cloisonné enamel — evoking the same aesthetic language found in Kordiukov’s earlier work with hot enamel. Unlike cut-and-paste pop collages, Kordiukov’s approach is resolutely architectural. He tears rather than trims, composes through forceful shapes and tectonic layers, and builds compositions that verge on the monumental.

There’s a formal weight to his collages — an intentionality that recalls frescoes or stained glass more than illustration. Figures, vases, and botanical elements appear not as decorative inserts but as sculptural presences, emerging from within the textured plane of the picture itself. Even in the most abstract arrangements, one senses a spatial logic — the structure of walls, altars, windows — grounded in Kordiukov’s deep sensitivity to material and form.

His work resonates alongside the great collage traditions of the 20th century, standing in thoughtful dialogue with artists like Kurt Schwitters, Romare Bearden, and Anne Ryan. Yet Kordiukov’s voice is distinct — merging formalist rigor with a poetic sensibility rooted in texture, memory, and material transformation. These collages are not illustrations, but constructions — meditations on image-making itself, built from the most tactile of means.