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My exposition "Colors of Cities" at the Domina Hotel All promotions

Now visitors to the Domina hotel have the opportunity to entertain themselves even on a gloomy, rainy day.
My exposition "Colors of Cities" brightens not only the Italian interior of the hotel, but also the stay of guests.
On the first and second floors, paintings and sketches on the theme of Italian and Siberian architecture and nature are exhibited. Wooden houses from the Russian hinterland are adjacent to the image of Ponte Vecchio - one of the attractions of Florence. The world famous Novosibirsk Opera House stands on an easel next to the Roman Cathedrals.
For a long time I wanted to combine in one exhibition canvases painted in Italy and Siberia, to show the beauty of cities, streets, nature of my beloved countries.
Now that the dream has come true, I am happy, and I invite you to visit the exhibition, spend time with a cup of good Italian coffee at the Domina Hotel and enjoy my work.

News All news

27.11.2020

In the November plein air with Alexander Tyunkin

When I fly to the naplenair, they want me to "... have a good rest."
Probably, from the outside, it is difficult to imagine and call painting a work. It is difficult to understand how physically and energetically you are exhausted in the struggle with weather conditions, carrying heavy sketchbooks, paints, canvases ... and even in a greater struggle with yourself, when you try to catch nature and transfer it to #canvases, and she tries to slip away and leave the inner emptiness and disappointment.
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"How many plein airs did you have?"
Lord! Can you really count the plein airs?
An athlete makes countless attempts to perform somersaults - can he name their number?
Plein air for a painter is the same!
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Plein air with a good teacher is always a leap forward!
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When I was just starting to paint from nature, Tyunkin pulled me out of the jungle of mistakes and taught me to orient myself: Big Light and Big Shadow.
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Now that you already have a skill, it helps you see strengths and develop them, teaches you to reason over each new stage and write so as not to bury yourself in details that do not convey the general state:
“Don't get carried away with details that seem unfortunate. I got it in tone and color. Stop. "
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What to enhance?
“The break of light and shadow is always textured. This is the most powerful point in painting that needs to be loaded as much as possible. "
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How to write big light?
“The reflex from the big light cannot be as heavy as the half-tones of the big light. They should be darker than the midtones in the light. "
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How do I paint a large shadow?
“The falling shadow is darker than its own shadow. There are no sharp contrasts inside the big shadow. "
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Why do you need to write in the open air, and not from a photograph?
"Nature is richer than photography"
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The shadow is always cold and the light is warm?
“There is no sun, the shadow is warm. The light is cold. Sky light source. It is gray. Cold. "
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How to write openings, doors, windows with one stroke?
"On the doors and windows we make a stretch - it is darker from below, lighter from above."
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And there are many, many more things that make Painting a painting, and not a coloring or a postcard!

18.11.2020

Exhibition INERTIA OF TASTE

Just recently, in Yekaterinburg, the opening of another "tasty" exhibition was held in the GALLERY BOUTIQUE "KARTÁVAYA" (Brands' Stories Outlet Center Yekaterinburg, Neskuchnaya, 3)
The exhibition INERTIA OF TASTE \ INERTIA OF TASTE is a project that reveals the idea of creating artworks that reflect the tastes, smells and aromas of food. Abstraction of taste sensations. Realism of the meal, impressions of your favorite dishes.
My works "Pizza for two", "Pumpkins are ripe", "Sweet life", "To your taste" and others, took part, revealing the idea, when feeling the limitations, you give the opportunity to move your fantasy by inertia, from thought to image on the surface canvas.

12.11.2020

OPENING of the exhibition "Inertia of Art"

September 5 in Yekaterinburg at the GALLERY BOUTIQUE "KARTÁVAYA"
Brands' Stories Outlet Center Yekaterinburg, Neskuchnaya, 3
the OPENING of the exhibition "Inertia of Art" was held,
My works also took part in the exhibition.
The idea of the exposition was to place those paintings and sketches that were written during isolation due to the 2020 pandemic and answer the question: How did self-isolation affect your work.
I'll tell you, friends:
“Before the pandemic, I was looking for motives for my works in Europe (Italy, Croatia ...) or in exotic countries (Zanzibar, Bali ...) Therefore, closed borders turned me towards my native nature, taught me to see my native architecture in a different way. and in May I watched how our Siberia was blooming violently, brightly, not yielding to abroad, how the flowering of bird cherry turns into apple trees, into lilies of the valley, into lilacs, into irises, into chamomiles ... I learned to paint the beauty that is nearby, that illuminates everyone day, for which you do not need to fly over the seas. "

01.10.2020

Master classes in Crimea 2020

This year I was lucky enough to attend two master classes in Crimea: with Igor Shipilin (landscape) and Olga Grigorieva-Klimova (portrait and still life).
It is very important for me not just to learn painting, but to learn from the best, whose works for me are not just a center of admiration, but a goal, an example to follow.
To start from the knowledge of talented and wonderful painters of our time, to develop and imitate those who do not fawn on the public, but are recognized and appreciated! It's complicated. This requires full involvement in the process. This is the work of the whole organism from hearing and memory to intuition and physical endurance.
"Write the wind!" - Igor tries to shout over the noise of the rolling waves. Sand creaks on my teeth. I lick the salt off my chapped lips and try to hold on to the palette and canvas.
"Do not look at the detail! Look through it, as if you are peeping, as if you are afraid that she will notice that you are writing it. And then, you will have the right spot. You will not have an eye on the canvas, but a look ! ", Olga says to me, unfolding my thought from" similarity "to" specificity. "
Therefore, I do not write from photographs, pictures or "from my head". I am learning to convey real feelings, characters, movements, smells, sounds, moods ...