Bogdanoff is influenced by ancient Greek art among others, replicating in the fresco form scenes depicted in scores of wall murals, friezes, reliefs, vase paintings, and statues ranging from the Greek Bronze Age through the Renaissance. He strives to capture the essence of not only a time in civilizations lost but also of past cultures which continue to fascinate archaeologists and art enthusiasts alike. Bogdanoff envisions what colors and styles would be applied for a displayed wall painting of a specific subject at that time in history and assimilates his interpretation into the fresco piece. He also incorporates his neo-expressionist and realist works with the fresco secco technique through a marriage of classic, contemporary and modern styles. "I believe that, by melding ancient with modern, I am conveying how humankind is all connected through primordial life. Also, I feel that our planet is fractured on so many levels, and the breaks in my work signify the strength of the human spirit and its ability to rise above even the most unbearable obstacles, thereby evoking hope."
Utilizing his concept of color and composition, together with a comprehensive knowledge of archeological discoveries and art history, Bogdanoff creates historic and personal moments forgotten in time. His intent is to achieve the creation and reinvention of images that have the powerful ability to extract myriad emotions through the awe-inspiring richness and variety of select subject matter and the technique of paint application to plaster.
“I am on a path of wellness,” says Bogdanoff, who uses his talent to assist him with his journey. “Painting is a form of meditation for me, from which I receive strength and balance. Every session at my easel is very gratifying, both emotionally and spiritually, and ultimately gives me the gift of serenity and happiness. For this, I am truly grateful. My hope is that by passing my works on, they will affect others as they have affected me.”
Part of his process:
“Once I prepare my plaster/lime “canvas,” I rub in numerous thin acrylic pigment washes with towels, brushes, and my palms and fingers, building up layers of the washes until I have a completed painting. I then proceed to “vandalize” my work by distressing the paint and plaster through numerous steps to achieve an appearance of antiquity, which include cracking, breaking, sanding, sawing, chiseling, sculpting, pitting, and staining. After the breaking process, I am left with re-assembling numerous pieces of my canvas, fitting them all back together much like a jigsaw puzzle. There are no faux breaks or cracks in my work. The fresco is then mounted onto a customized precision-sized backing for reinforcement. ”
