"Ladybug" Painting

1991, Russia
I was fortunate to receive an art education in Russia. It's a replica of the
education system of the collapsed Russian Empire. College and
university took me nine years in total. These were fascinating years of
exploring techniques, methods, and approaches. Some of my teachers'
sayings will stay with me forever; they sound different with time.
I enjoy learning through images, creating from scratch, starting with a
foundation, and achieving results by following rules and consistency.
This has a certain analogy with real-life situations: if the foundation is
improper, then all further work is a waste of effort. Technique and an
understanding of the medium are the foundation for creativity. I
currently work in two mediums: watercolor and oil paints. Watercolor
has unique qualities, unique iridescence, lightness, speed, and the
ability to capture detail. However, watercolor fades after drying. That's
why I still can't give up working with oil paints, which, more than other
materials, convey the vibrancy of the surrounding world.
Still lifes and portraits are my favorite genres. Still lifes can be very
narrative; objects can tell a story. Portraits and figures require a
knowledge of anatomy, which is quite complex, but that's what makes
them so interesting.
Regarding the level of detail in my work, I can say that I've always
admired the masters of the Northern Renaissance, certainly not
forgetting the High Renaissance in Italy. However, I strive to temper this
meticulousness with something fresh. In this regard, I take my cue from
contemporary Asian artists. I believe the belated arrival of academicism
in Asia has helped preserve a lightness of execution and a fresh
perspective. I sincerely admire the watercolors of contemporary Korean
artist Joe Hunsang and the completely different watercolors of Fiona
Strickland. Each artist has their own path.
Art is intended for the client, but the pleasure of the creation process
belongs to the artist