Aleks Samoylov is a graduate of the Maryland Institute College of Art and a widely exhibited contemporary multimedia artist. Their work is an ongoing and ever varied exploration of identity and liminality, of site, non-site, and super-site, and of the semiotics of inner space. As one of the authors of the "brazen and ecstatic" Novark School, they reject only the artifice of boundary and embrace the practice of art-making as all inclusive and radical action. The Novark School artists are known to deemphasize both medium and process in favor of fluid and accessible expression, and Aleks' work is, and has always been, an earnest push to explore that vast, universal spirit to the extent of its "beautifully imperfect" potential.
Please direct all professional inquiries to info AT alekssamoylov DOT COM
If you would like to support the artist directly, you can become one of their patrons on Patreon. Patreon is an easy way to ensure that the artists you appreciate continue to survive and make art despite the grinding vicissitudes of capitalism. The service allows patrons to make a pledge of ongoing/monthly monetary support. It is easy to sign up for and use. Patrons can pledge as little as one dollar per month or as much as they feel comfortable with, and are free to alter their pledge at any time. Through Patreon, you will also gain access to various rewards, including early access to certain projects, free access to commercial works, a direct line of communication with the artists, and their undying gratitude.
If you are unable to do the monthly subscription, but would still like to make a one time donation in appreciation of the artist's efforts, you can do so via THIS LINK. Additionally, prints of the artist's work, as well as original pieces, may be available for purchase by special request.
The artist is available for workshops, speaking engagements, and comissions on a case by case, selective basis. If you are interested, contact the artist's studio to inquire. For workshops and speaking engagements requiring travel, the client must cover all travel expenses, including lodging and food, completely and in advance. The client is also responsible for paying the first half of the artist's standard speaking fee in advance (several days prior to the artist's departure) and the second half immediately upon the artist's arrival at the venue (prior to the talk itself). The artist's base rate is currently $1500 for a talk/presentaion of less than and up to one hour. The base rate is non-negotiable. Due to health concerns, the artist is rarely available for engagements that take place in the mornings or early afternoons. Engagements prior to this may be undertaken by the artist on a discreationary basis, assuming that the client is willing to pay double the standard rate and to cover or make any additional reasonable accomodations requested by the artist to maximize their comfort.
The artist does not perform any services or transfer ownership of any artwork, including both physical pieces and intangible rights and priveleges to use or reproduce the artist's work for any purpose, for free, on spec, or "for exposure." Ever. They cannot afford to do so until the institution of a fair and effective universal basic income or the abolition of capitalism as the primary and (mistakenly) accepted engine of power, production, and value. While they may occasionally lend their aid to people and causes they believe to be worthy, they will only do so of their own volition and by their own initiative. In the age of information, "exposure" is a dead currency. The artist does not need it. Additionally, the artist believes that artists as a broad category should not be expected to "suffer and sacrifice for their art" any more than lawyers are expected to "suffer and sacfrice in the name of the law," doctors are expected to "suffer and sacrifice in the name of medicine," or accountants are expected to "suffer and sacrifice in the name of taxes." Artists are tradepeople who provide desirable and valuable services and posess extraordinary skills. They deserve to live as comfortably off the fruits of their labor as ANY professional. If you want art to be holy and above the influence of money, either abolish money entirely, or pay ALL artists a living wage.
Art games and interactive media are a prominent aspect of Aleks' work. A more comprehensive library of Aleks' interactive offerings can be found at
thealeks.itch.io. The pieces featured on this page are, respectively:
"Composition in a Minor Key,"
"Even in Arcadia, There I am,"
"How to Die Like a Graceful Beast" (A 2015 WAG Challenge Finalist),
"Every City is the Same,"
"Ultimate Vortex Hunter: Revelations."
Post:Truth is a broad heading for Aleks Samoylov's recently begun exploration of the effect of political, social, psychological, and ontological filters on our collective perception of reality. This body of work is ongoing and largely performative. The current focus is on codes of presentation and the nebulous distinction between legitimate and illegitimate expression, specifically in the arts and media.
Rituals for the Weary : The Silent Triangle - In the spring of 2012, three small lock boxes, each full of appropriately sized works of conventional art made during the winter months, were buried in three world capitals: one in Washington DC, one in Tokyo, and one in Lima. The precise locations (in the form of both conventional directions and GPS coordinates) of the boxes and their lock combinations were memorized by the three participants. Each one has vowed to take that information to their grave.
Rituals for the Weary : The Bellwether - An electric time-release lock box was devised using a small solar battery and an arduino microprocessor. The timer component is programmed to send a signal to the locking mechanism after a specified amount of time had elapsed. A single item of personal or sentimental value was placed inside the box and it was subsequently set to unlock at 3:21 am on January 7th, 5013 CE (almost exactly three millennia after activation). Afterwards, the box was shipped by the artist to a trusted friend, who had agreed to serve the role of their assistant for purpose of executing this ritual. The assistant was granted sole discretion over the object with several conditions:
1. The artists is never to see the box again, nor to ever learn of its final location.
2. The assistant is to make every effort to put the box in a location where it would have, based on their personal judgment, the highest chance of surviving undisturbed for the longest possible time (preferably the duration of the countdown). Such a location would naturally be open to the skies, so that the solar batteries could ostensibly continue operating.
3. The assistant is never to tinker with the locking mechanism or otherwise attempt to open the box and thereby learn what is contained within.