Michael Painting

My art is based on a single principle: artistic presentation of esthetic interests. These interests define the goals which I set to myself as an artist. Creating the Portrait of a Human Being is at the center of my interests, it is the end goal of my artistic work. I like watching people, their facial expressions, their body language, movements and silhouettes. Revealing human character and individuality through uncovering those of their aspects that prompt adoration and admiration—this task never makes me bored, and it will always be the source of my inspiration. I have a feeling that a person’s inner character, the portrait of his soul is always expressed through his special, unique, yet very tangible and specific body mobility. At times, when I am absorbed in my work, I feel as if I were like clay, pliable, clinging to someone and surrounding his form without omitting even a single small bump or corner so that the person’s inward nature can be experienced through the physical sensation of his movements. I encounter such people everywhere, those, whom I cannot but draw or paint when I see them, noticing their facial expressions, their movements and silhouettes, their choice of clothing. My artistic inspiration, my creative impulse, at times bordering on suspense, might happen suddenly, at any moment, and then I would use any available materials in order to capture my mental image, my insight and empathic vision. Jogging in the park, for example, I may see a complete stranger sitting gracefully, with his legs crossed, at the shore of the Yusupov Pond and smoking. Then I may get agitated noticing his disproportionately long, ungainly legs that look just like those of marionettes. Or the splash of his simple white scarf against the background of his black garment: a bubble coat, which underscores his expressionist stooped back, and jeans hugging his overlong legs. Or even how his scarf is awkwardly tied in front of him, dangling as on a child. Capturing his wild gaze—he stares at me with one eye, the other hidden by his hood—I stop there and start drawing sketches of him with my fingers on my phone screen. In painting I choose primacy of form over content. My heroes are blots, lines and colors; they play their own game, they unite themselves into their own narrative, yet reflect the person who is central to it. This painting is in front of me: a green blot climbs the blue zigzag against yellow background towards a long pink blot.