I strive for harmony

I STRIVE FOR HARMONY // Vernissage, January 29 — February 10, 2002 Central house of artists

Oleg NEFEDKIN in 1982 graduated from Moscow state art Institute named after V. I. Surikov.
From 1988 to 1992 he studied at the creative workshops of the Academy of arts under the direction of O. Vereysky and A. Gritsay. Member of the Union of artists CCC.
Since 1988 he began to actively participate in exhibitions abroad-in the USA, the Netherlands, Germany.

The artist’s works are in museums Savvino-Storozhevsky monastery in Zvenigorod, Transfiguration monastery on the island of Valaam, in private collections in the United States, England, Germany, Spain, the Netherlands, Japan, Turkey and Russia..

Oleg Nefedkin has not shown his works to the General public for a long time, and here in the CHA you can see the creative report of the master for the period of “silence”.
Our conversation with the artist began with a question about the concept of the exhibition.

– This is a retrospective exhibition, the Fact that I have not exhibited in Russia for a long time, for eight years. There are many new works, and I’m interested to see them next to what I wrote before. And learn the opinion of their friends-artists and art critics. My heart tells me I’m doing the right thing. I don’t know what it will result in later. The basis of everything I do is the continuation of the traditions of our national art. This is light, color, purity of perception, a special harmony – all that distinguishes Russian art.

– How do your abstractions arise? Is there an image and you embody it in color?< / strong>
– Last summer I worked in the Haystack, wrote full-scale sketches. But it is not possible to convey all the features of sensations.
Look, this work is Called”lake Senezh”. Every morning I went for a swim in the lake. The sun, its Shine and reflection in the water, splashes. The painting depicts the feeling of morning bathing.
And this is ” in the artist’s Studio.” I rented a large Studio there, littered with a mass of canvases, paints and books. And in the evenings there was some special state when the summer, warm light of the setting sun poured into the room. I wanted to convey it, but it can not be done if you write just nature. It was necessary to convey these feelings through yourself, through color. And not dryly, but emotionally, as I perceived it. These works can be called natural.

– Can you say that the framework of realistic painting began to constrain you?< / strong>
– It’s not like it’s chained, no. But now I am too captured by abstraction, maybe through it I will come back to realism, but with a completely different artist. What will happen in a year, two or three – I myself am interested.
I try to go sincerely and uncompromisingly.

the – Say, you build your composite pictures? Or is it really spontaneous application of paints?< / strong>
– Hard to say. I work with the whole canvas at once. I start from the feeling of large planes, colors, then some places complicate, as I feel. I like this combination of expression and sensuality, such a nervous work.

– So you feel harmony in the combination of your feelings and color?< / strong>
– I create harmony, I’m eager to this harmony. But harmony is not always just quiet and smooth. It can be stormy, alive, while very organic. It’s like music.

– Who are your teachers?< / strong>
– I had a lot of teachers. At the Academy of arts my teacher was Orest Vereysky, and he gave me a lot not only as a master, but also as a person who carried the tradition of communication. I mean the spiritual tradition. I don’t know if you feel it when you talk to people of the older generation, the old school of painting? They carry a great culture even those teachers with whom they communicated. And they pass it all through themselves. It’s valuable. We spent hours in the workshop talking about everything. Vereysky was familiar with those who carried culture: with great writers, poets, Directors, actors. It is open and deep. And you feel this depth when he tells interesting stories from his life, so difficult and calmly conveys the feeling of that time that you just get pleasure, as if you are watching some fascinating film by a serious Director. There is a feeling that you communicate with the real art.

– Why didn’t you write for a long time?< / strong>
Yeah, haven’t written in eight years. I organized my business. Now I have a few frame shops in Moscow. There was free time for creativity, there is an opportunity to work on a different basis as an artist. And the fact that I broke through in a different capacity to painting, perhaps, gives freedom, independence of opinion, who and what can think about my painting. It’s important for sincerity. Now I am independent and do freely and sincerely what I want. The public will accept it, won’t accept it, I don’t know, but I’m looking for my own harmony, a way out into my own space..

The artist’s works are in museums Savvino-Storozhevsky monastery in Zvenigorod, Transfiguration monastery on the island of Valaam, in private collections in the United States, England, Germany, Spain, the Netherlands, Japan, Turkey and Russia.

Oleg Nefedkin has not shown his works to the General public for a long time, and here in the CHA you can see the creative report of the master for the period of “silence”.
Our conversation with the artist began with a question about the concept of the exhibition.

– This is a retrospective exhibition, the Fact that I have not exhibited in Russia for a long time, for eight years. There are many new works, and I’m interested to see them next to what I wrote before. And learn the opinion of their friends-artists and art critics. My heart tells me I’m doing the right thing. I don’t know what it will result in later. The basis of everything I do is the continuation of the traditions of our national art. This is light, color, purity of perception, a special harmony – all that distinguishes Russian art.

– How do your abstractions arise? Is there an image and you embody it in color?< / strong>
– Last summer I worked in the Haystack, wrote full-scale sketches. But it is not possible to convey all the features of sensations.
Look, this work is Called”lake Senezh”. Every morning I went for a swim in the lake. The sun, its Shine and reflection in the water, splashes. The painting depicts the feeling of morning bathing.
And this is ” in the artist’s Studio.” I rented a large Studio there, littered with a mass of canvases, paints and books. And in the evenings there was some special state when the summer, warm light of the setting sun poured into the room. I wanted to convey it, but it can not be done if you write just nature. It was necessary to convey these feelings through yourself, through color. And not dryly, but emotionally, as I perceived it. These works can be called natural.

– Can you say that the framework of realistic painting began to constrain you?< / strong>
– It’s not like it’s chained, no. But now I am too captured by abstraction, maybe through it I will come back to realism, but with a completely different artist. What will happen in a year, two or three – I myself am interested.
I try to go sincerely and uncompromisingly.

the – Say, you build your composite pictures? Or is it really spontaneous application of paints?< / strong>
– Hard to say. I work with the whole canvas at once. I start from the feeling of large planes, colors, then some places complicate, as I feel. I like this combination of expression and sensuality, such a nervous work.

– So you feel harmony in the combination of your feelings and color?< / strong>
– I create harmony, I’m eager to this harmony. But harmony is not always just quiet and smooth. It can be stormy, alive, while very organic. It’s like music.

– Who are your teachers?< / strong>
– I had a lot of teachers. At the Academy of arts my teacher was Orest Vereysky, and he gave me a lot not only as a master, but also as a person who carried the tradition of communication. I mean the spiritual tradition. I don’t know if you feel it when you talk to people of the older generation, the old school of painting? They carry a great culture even those teachers with whom they communicated. And they pass it all through themselves. It’s valuable. We spent hours in the workshop talking about everything. Vereysky was familiar with those who carried culture: with great writers, poets, Directors, actors. It is open and deep. And you feel this depth when he tells interesting stories from his life, so difficult and calmly conveys the feeling of that time that you just get pleasure, as if you are watching some fascinating film by a serious Director. There is a feeling that you communicate with the real art.

– Why didn’t you write for a long time?< / strong>
Yeah, haven’t written in eight years. I organized my business. Now I have a few frame shops in Moscow. There was free time for creativity, there is an opportunity to work on a different basis as an artist. And the fact that I broke through in a different capacity to painting, perhaps, gives freedom, independence of opinion, who and what can think about my painting. It’s important for sincerity. Now I am independent and do freely and sincerely what I want. The public will accept it, won’t accept it, I don’t know, but I’m looking for my own harmony, a way out into my own space..