Sergei Sviatchenko

We’ve known our friend Sergei Sviatchenko for many years, ever since he first reached out to us when we posted about his Close Up And Private in 2009. Over the years, we’ve stayed in touch via the internet. And despite being close to meeting a few times, we had never actually met in person. However, at the end of last summer, we finally found a great reason to collaborate—and as a result, meet in person for the first time. Over the past few months, we worked together remotely on a project that repurposes three years’ worth of publicly available imagery we created, allowing Sergei to give it a second life, by creating new imagery with more lasting power—or at least make it part of his incredible oeuvre—while also marking the beginning of a new chapter for us, once again.

But first, to learn more about the artist (and architect) behind the collage imagery and to provide some context on how he became the person he is today, last Thursday we sat down with Sergei in the Cristel Ballroom Gallery, where we would later that day launch our project in Amsterdam. We discussed the different aspects of his career, which spans many decades and took him from Ukraine to Denmark in 1990. Fast forward to later years, when his career received another enormous boost with the emergence of the blogosphere. All the way to now, at the respectable age of 72, with our friend showing no signs of slowing down.

Here are some of the things we talked about >

Considering that you started your career many years ago, how do you look back at your younger years? What do you remember “seeing” back then, and how did it affect you?

The model has always remained the same, to this day. We are inspired by something, and we keep working on it. Sometimes we are many, sometimes we are a few, and at times, even alone. But as long as that something moves us forward, life remains beautiful. Distractions—whether the most beautiful ones, like family life, or the less beautiful ones, like the search for income—fuel my energy and keep me going.

What changed when you left Ukraine (and the Soviet Union) for Denmark in 1990, in terms of your cultural and visual reference points?

Moving to Denmark allowed me to bring many theoretical ideas to life. From the influence on my artwork and the educational environment to the essential shifts in how we perceive the world, it all expanded—especially through the aesthetic of surprise.

How would you describe your transition from architecture to image-making? Was there a relationship between the two practices from the start?

There was a relationship, but not necessarily in terms of practical realization. Many ideas from my architectural studies remained on paper. You may be familiar with the “Paper Architecture” movement that flourished in the USSR in the 80s—it was a great exploration of ideas on paper rather than in built form.

How are both disciplines connected in your practice?

Architecture and image-making are deeply intertwined in my work. All my understanding of scale, proportions, and catharsis comes from my architectural education, along with a broad knowledge of the history of architecture and art.

Take us back to 2004, when you introduced the CONSTRUCTION – DECONSTRUCTION – RECONSTRUCTION method to your practice. How did that come about?

Often, in order to truly appreciate something, we must lose it and seek it again. It was an idea I began forming in the 80s and 90s, inspired by my theoretical thinking and later my Ph.D. research. By adding a maximum of three elements, the narrative of an image can completely shift. I aimed to push my vision beyond individual works, creating a space where collage is not just a technique, but a philosophical lens—a sentiment perfectly expressed by someone I now cite often.

How would you describe the influence of the internet on your practice, particularly during the period it gained prominence?

I appreciate the technology, even if my use of it is limited. However, the blogosphere provided me with unexpected inspiration and proved invaluable for communication.

We first encountered your work through the Close Up And Private project. How did that start, and how do you view its importance in your overall body of work?

The project gave me unexpected joy, both personally and professionally. It brought collaborations with fashion brands, new “artist’s take” assignments, and connections with people—both old friends and new. Most importantly, it allowed me to practice the style of “fashion” photography I had always wanted to explore—focusing on detail, suggesting but not dictating. It invited viewers to shift from simply buying into trends to thinking for themselves.

In the Close Up And Private series, you also worked frequently with your son Erik. What did working with someone so close to you teach you?

Erik’s commitments to sports kept him away from family trips and just spending time together from an early age (now he is 33 and a football legend in Denmark, currently playing in the MLS for Houston Dynamo FC). But back in 2009, he was only seventeen when we started the project. It was a nice opportunity to be together, exchange music preferences, and feel good. But it also taught me to respect each other’s time.

What excites you most about the digital age and how it has impacted your career?

What excites me most is the ease of communication and the ability to bring my architectural illustration ideas to life in a completely new way. A small image can now project across huge surfaces. The process remains as vulnerable as it is exciting.

Looking back at the last few years, which included the pandemic, how would you describe your current position as both an architect and a contemporary artist?

I find myself in my studio or at the table in our living room, sorting through the piles of images I have gathered. It is a moment of quiet reflection, but also an ongoing process of discovery.

Why did you decide to become part of our little project?

I am happy to contribute to a celebration of talents because I get a feeling of belonging, which is rare. To go through the images, find what I liked, and be given permission to mix them with fragments of my thinking and vision allowed me to create short stories for the viewer.

And finally, the world is in a state of turmoil, and technology is playing an increasingly important role. How do you see the future, particularly with the rise of artificial intelligence and the exponential growth of artificially generated imagery?

I believe in the future, but I also believe in the emotional depth that we, as humans, bring to it. I stand with the future, yet there is something irreplaceable about holding an LP in my hands today—just as I did fifty years ago. I hope others experience that same connection. We each choose our historical moments, and that choice matters

Make sure to follow Sergei’s every move here >