Painting is like poetry. It reveals something that is usually hidden, hidden within the depth of our souls. Some call it “secrets,” others label it “privacy.” Whatever that is artists and writers have the guts to deliver it, some do it half-way, others all the way. As a result artists often become vulnerable.
My work is not about photo-realism or copying of reality, rather it’s about achieving realistic effects to believably convey emotions, ideas, and relationships between people. My painting is always infused with symbolism, which is sometimes unknown to my own logical psyche until it’s complete. Asking the artist to explain his/her painting is like pressing to extract the essence from it, to deliver the “secret” that should be read by the viewer himself. It’s akin to asking writers to give out the book’s ending without trying to read it on your own. After all, painting is exciting while it remains unexplained. My works have multiple endings, sometimes hidden from my own self. Because this type of art is not decorative, it's destined to become part of some museum collection or a private one in the future.
For many my art is too edgy, weird, and unexplained but for some it’s beautiful and evocative of their feelings and experiences. I recently sold pieces painted several years back that communicated feelings of solitude I depicted in a range of blues, trees, and the Moons. They finally connected with the right person who found himself in the same place I used to be in. Although my work is different today, it still relies on the same principles of symbolism and emotion.
“Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.”
Masks deconstruct a person. They make it easy to imagine oneself behind it. There is no association with a “particular” face and the story becomes a priority. Masks also translate into something concealed and thus go beyond our obvious associations.
Why carnival figures?
I love elaborate dress code with as many elements in it as possible. My affinity for baroque style is obvious in works filled with detail, elegance, and beauty. Several years ago I made arrangements to go to Venice, Italy during the carnival month to take pictures of dressed up people walking the streets of ancient town. Venetian patterns, masks and gowns provide me with infinite inspiration.
|Tenderness, oil on canvas, 26x34 inches|
This work is about sincere feelings of love, affection, and care, which is depicted through the use of warm colors in the background and the sunlit fabric of the figure. Little birds, flowers, and ribbons signify tender, fragile state of the heart. Usually, female figures depict such feelings but I wanted to break away from such tradition and depict a male figure that could be as elegant and pure.
|Promises, oil on gilded panel, aluminum leaf, 26x34 inches|
This painting is about the early stage of relationship when many promises are given to each other. Thus I have two figures facing each other. Red signifies love.
|Keeper, oil on canvas, 48x36 inches|
Keeper is about forces or powers that go way beyond our understanding or reach.
|Hidden II, oil on canvas, 26x34 inches|
Hidden I and Hidden II
This work is about keeping the key to yourself, your own heart, hiding from others your most vulnerable self.
Colored Pencil Drawings:
I am influenced by Baroque art that can be described as “over the top,” every corner of a painting or a church is taken over by incredibly elaborate set of information. While my colored pencil drawings are simply studies of light and shapes, they follow the principle of elaborate elegance. Drawings are based on my pictures taken in various churches, palaces and other beautiful places.
Chandeliers of Versailles
All drawings are about 9x12 inches, each took about 50 hrs to complete, drawn with light-fast pencils on paper (archival quality materials).