His works are noticeable page in the book of "Kiev aestheticism" that is written by many gifted artists of his age who are engaged in making objects, viedo-art, drawing, making performances and teaching. But, of course, his main occupation is painting. Here we observe creative evolution from declaratively dramatised rebus-like canvases to really magic works as if silently pulsating and mysterious.
Bludov's pictorial legacy is rarely natural and integral. In short it could be
defined as a passionate attempt to find archaic harmony which is lost in our
vain time. Achievements of occidental culture are combined here with oriental Slav melancholy and meditation. Personal sight on ancient mystical teachings is important too. The subject is more often associated with the author's mythology, artistic imagination is easily carried away from one epoch to another.
... As for the form, the preference is given to colour texture not to drowing,
which is, nevertheless, expressive and grotesque. His works are indubitably
sincere and their sincerity is ironical and tactful. As it is really cultural painting of our time...

Colours of time
Rayonism, founded by MikhaiI Larionov and Natalia Gontcharova, suprematism or constructivism, founded by Kasimir Malevitch, Eliezer Lissitzky, Ivan Klioune, etc. and the movements which followed, were forbidden and their painters cursed.
Socialist realism became the official doctrine in the contemporary field of art, both in the ex-USSR and in the countries under its political hegemony at the time. This doctrine found its full expression during the first conference of soviet writers held in Moscow in 1934.
From this date onwards, the source of inspiration came from important movements that preceded the century: the School of Barbizon, academism (pompier art), impressionism and naturalism.
Painting and sculpture proved to be particularly vulnerable to this environment, which explains the artificial and rigid academism of social realism and its variants.
Since 1992, while in the Ukraine, certain artists have continued to paint in the same way, for others, like Andrey Bludov, painting has become the expression of a vision of the world in the most literal sense of the term.
Bludov renders this in his own style.
He is interested in materials and takes colour as the starting point. He uses it in a thick layer. His yellow, for example, spread abundantly over the canvas, vibrates with intensity. This technique allows him to produce a range of infinite nuances.
They give his tones a resonance that changes according to their vibration and their radiance.
The picture becomes a palette and Bludov transforms this harmony into a riot of imagery, a perfectly regulated choreography.
Interlacing forms, various objects such as clocks, wheels, figures, ruins, peopled with strange faces, accumulate, harmonise and catch the eye. A whole bric-a-brac of living or utilitarian things which express the sensations of the artist confronted with the whirlwind of time. This whirlwind carries us away through the labyrinth of new dreams where Bludov's art is no longer made of profusion and harmony but of intense ideas.
His last works have the colour of time, that of a boreal sky. The painter chooses to explore and take advantage of the richness of the materials he uses. He sets up a sort of building game, notably using an assembly of small canvases, which he transforms into a painting/object. This work evokes and relates the past, present and future. It is made up of pieces of mechanics, signs and photographs with forgotten destinies, secret drawers ready to open on to daydreams.
Bludov, as a prince of the temporal, develops a style of painting that cannot be confused with any other, because it is marked by a singularity, which tends to establish a relationship between the work and the spectator, thanks to a spontaneity that demonstrates a great technical mastery and a fertile inner research.

Anne-Marie Pallade