Lukas Moll is a queer artist based in Cologne, Germany. His work is deeply rooted in the experiences and struggles of the LGBTQ+ community, aiming to bring visibility to themes like isolation, discrimination, and resilience. He also explores topics such as sexual violence and abuse, using art as a medium for healing and advocacy.
Read moreBIOPIC | Paola Charnet →
Paola Charnet is a talented figurative oil painter with Spanish and French roots, currently based in Barcelona. Her work is known for blending classical traditions with modern, geometric elements, creating a unique visual language that conveys emotions through color and form. She draws inspiration from her grandmother, Cachi Soler, a renowned Spanish painter and sculptor, and incorporates influences from her academic training in art and her background in the technological industry.
Paola Charnet employs a fascinating blend of classical and contemporary techniques in her paintings. She specializes in figurative oil painting, drawing inspiration from classical traditions while incorporating modern, geometric elements. Her work often features intricate geometric shapes and vibrant colors that interact with the human figure, creating a unique visual language to convey emotions.
She combines her academic training in classical art with influences from her background in the technological industry. This fusion results in elements reminiscent of digital aesthetics, adding a futuristic touch to her work. Her series, such as "Geometry of Emotions," exemplifies this approach, where geometric patterns and colors symbolize interconnected thoughts and emotions.
Alexandra Telgmann | Water as the Inspiration
Alexandra Telgmann specializes in the natural interaction between the female form and the element of water. The deep connection between the artist and the sea is visible in many of her paintings. For her, the sea is a decelerating place of power that creates inner peace and at the same time reflects states of consciousness of one’s own life.
What is the purpose or goal of your work?
My art aims to forge a deep connection between nature and the view- er, inspiring awareness and conservation of our environment. I draw inspiration from the natural element of water, capturing the beauty, power, and adaptability of marine life and the female form in the ocean. Through my paintings, I hope to evoke a sense of serenity and strength, encouraging people to pause, reflect, and appreciate the world beneath the surface. By highlighting this connection, I aim to foster a deeper appreciation for the ocean and its protection.
Do you have a network of other artists, and how do they support you?
Connecting with artists worldwide is a significant part of my life. Through international exhibitions, workshops in Europe, a scholar- ship in Rome, and social media, I’ve met amazing artists who share my passion. This network provides valuable support and insights on techniques, galleries, and exhibitions. I especially appreciate the 33 Contemporary/Poet Artists community led by Didi Menendez, which offers unwavering support and fosters connections among artists. This community has been a source of encouragement and inspiration, helping me stay motivated and engaged in my work. It’s wonderful to connect with others, especially since we often work alone. I’m truly grateful for everyone’s support and the sense of camaraderie it brings to my personal and professional life.
What is the best advice you have received in your career?
To become what you want to be, you must be patient with yourself and others. Stay focused, and understand that time, combined with discipline and dedication, will reveal new directions to both yourself and those around you. The best advice I’ve received in my career is to remain focused on my goals despite obstacles or setbacks. Envision the goal and work toward it day by day.
Has the press or media ever mentioned your artwork?
I’m very grateful for the interest the press has shown in my art- work. Earlier this year, I was honored to be a finalist in the NTD International Figure Painting Competition, which included an ex-
hibition at the Salmagundi Art Club in New York, USA. This recog- nition led to interviews and features on platforms like the Epoch Times and on TV, where one of my statements was broadcast on the news. My work has also been showcased in magazines such as American Art Collector and Fine Art Connoisseur, and featured in various newspaper articles in northern and central Germany.
As my visibility in the media grows, I feel it’s essential to use my voice to engage the audience in a deeper conversation about our connec- tion with art, nature, and the importance of its conservation. Through my art, I aim to inspire a greater appreciation for the beauty and signif- icance of the natural world, encouraging viewers to reflect on their own relationship with the environment and to find a beautiful pause from the hustle and bustle of life through mindful observation.
Describe a piece of art you are most proud of. Why?
When starting a painting, we never know how it will resonate with the world; it begins as an idea brought to life on the canvas. One piece I’m particularly proud of is my shark series. For me, sharks symbolize strength, power, and focus. My second shark painting, titled Golden Ocean Reflection Shark, features a shark moving gracefully through the ocean waters. The sun’s reflection on the surface is depicted with 24-carat gold leaf, creating an intense and captivating shimmer. This reflection also forms a beautiful pattern on the shark’s body, which I love to paint and observe.
This painting holds special significance for me because it embodies personal strength and connection with the ocean’s beauty and its creatures. It was the first painting from my collection to be included in the Lunar Codex, stored on the Moon thanks to 33 Contemporary gallery. You can also find it for sale on Artsy. This painting is dear to me because it represents a journey from the depths of the ocean to the Moon, marking a significant milestone in my art career. It also invites viewers to connect with the wonders beneath the ocean’s surface.
Nadia Ferrante | Emotional & Psychological Connection
Bio
Nadia Ferrante is an Italian artist, born and raised near Rome, where her love for beauty and art emerged early in life. Her favorite artists include the great Italian masters such as Caravaggio, Michelangelo, and Raphael, but over time she discovered and fell in love with Klimt, Degas, and the Pre-Raphaelites. Though her academic path led her away from art, her passion was reignited later in life, particularly after a difficult period marked by personal loss.
With a deepening mastery of soft pastels, oil paints, and graphite, Nadia’s work focuses on portraiture and figurative representation. The pandemic lockdown spurred her to test her skills in competitions and exhibitions, which led to recognition in local and international events. She was featured in catalogs such as Modportrait 2021 and the Leonardo Guide (2021, 2022, 2023), and became a finalist in the British Art Prize, with her work exhibited in London in 2024. She win the Grand Prize of International artist magazine ” people and figures” in 2023. She has also been published in prominent magazines like Fine Art Connoisseur, American Art Collector, International Artist Magazine, PoetsArtists, 365Art+, and more.
In her art, Nadia seeks to create an emotional and psychological connection with the viewer. Her imaginative realism explores human emotions through characters that engage directly with the audience. Combining classical themes with contemporary societal issues, her works invite viewers to confront contradictions while presenting her unique vision of beauty, drama, and sensuality.
Q&A
What are your most valued skills as an artist?
My skills I think are, on a technical level, the realism in rendering the sensation of the skin, the tones, and the hair, especially with pastels, where I think I have more ability. A dear artist friend once told me, your nudes give the sensation of being able to touch them, almost pinching the skin, well I think that’s a nice compliment. On an emotional level, I’m often told that my portraits have a soul in their eyes, and I really take pride in capturing the essence of the subject.
What is the best advice you have received in your career?
The best advice was to continue, not to give up, and to try to express what I feel and what makes me better, because if you make art to please others sooner or later you lose yourself.
What’s the purpose or goal of your work?
What I try to do with my art is to sensitize those who observe it, Especially for the themes dearest to me, women, their condition in society, the individual in their fragilities, weaknesses and how we are connected to each other. If I can touch even just one person with my works, I have already achieved my goal, obviously I would like to see my abilities recognized by the general public, but it is a goal that does not depend only on me. Instead, transmitting what I wanted with my works, that is important and depends only on me.
Has the press or media ever mentioned your artwork?
I have been published in several prestigious international magazines, particularly those focused on specialized topics abroad. My works and interviews have appeared in American Art Collector, International Artist, Fine Art Connoisseur, and PoetsArtists magazines in the U.S., as well as in 365 Art+ In Japan, I have been featured on the platform Realism Today, as part of a group of artists, and on websites dedicated to art archives. My works have been included in museum catalogs, such as the Red Tome of the Artelibre Gallery in Spain, marking its 25th anniversary, and have appeared in the Guia Leonardo for the past three years, as well as in the book Masterworks: Volume 1, published in Spain.
Describe an artwork you are most proud of. Why?
I like to think that my best work is always the next one, as it’s in my nature to challenge myself and push my boundaries. However, I must admit that I’m very attached to my latest series, which is still ongoing, and includes Tides of Inner Struggle. This piece surprised me with the expressive power I was able to convey, especially because it addresses a very contemporary and personal theme: the pressure of society, particularly on women.
Susan Lim | Fine Art
Bio
Susan Lim was born and raised in Kuala Lumpur, Malaysia. She moved to the United States for college and graduated with a Bachelor degree in Film Scoring at Berklee College of Music. The entertainment industry was not a good fit, she then ventured into an online clothing business, her first love, and it lasted for 15 years. A devastating miscarriage in 2018 led her to taking art classes to alleviate her sorrow. She has been obsessed with everything art ever since and thinks that art saved her from that deep dark place.The pandemic lockdown in the year 2020 helped jump start her art career when she offered to paint portraits for a donation to Feeding America on Instagram. She painted 9 portraits of people and pets for that campaign. Her painting “Lean On Me” was a finalist in the animal portrait category at the Portrait Society of America’s members only competition in 2021.
Her favorite subjects are people, as there are so many stories untold within our faces. She has been creating conceptual and figurative art. She completed an underwater and floral series and is in the middle of creating another series with flowers and beauty. She believes that the world needs more beautiful art as we all strive to make it a better place.
Q&A
What's the purpose or goal of your work?
The goal of my work is to make people happy and inspired. I have a painting of a girl pouting when 3 hummingbirds were messing with her and her crown. It was in an exhibition in Laguna Beach for 2 months. When I see people walk away with a big smile, I know my work is complete. I want my work to also evoke emotion and take their breath away. Ideally, art lovers who viewed my work, should walk feeling happier or more inspired than they were before entering the room. That to me is success.
How has your style changed over time?
I used to paint with very precise and tight brush strokes. My paintings looked like photographs with a hyper realistic style. Over time, I realized that the characteristic that sets a painting apart from photography is its textures, unique brush strokes and painterly quality. It should also have 3 dimensional quality to it as if you can almost touch the subjects and that it’s not flat. Moving away from painting hyper realistic art, I now prefer to paint with looser brush work with softer edges.
What are your favorite and least favorite parts of professional art?
My favorite part of professional art is that it allows me to create work that is uniquely me, with subjects I love and am inspired to paint. I’m in love with the process of coming up with something conceptually, and then to complete the process by making my vision a reality with props and models. Every step is a joy to me, be it the planning stage, the photo shoot, everything in between and the finished painting. I’m simply obsessed with art and its creation. My least favorite part of professional art is the business side of things. Every artist might agree with me on this. We are creators, not business people. Plus, I’m also the worst at marketing myself and getting myself out there. It takes just as much time managing the day to day non art side of the business as it is to paint. Sometimes we spend more time on business than painting itself! Tasks like managing my website, sending newsletters, accounting, taxes, shipping and the constant struggle with sourcing the cheapest possible top notch supplies and materials for my work in this economy, can be a challenge to balance. These things take me away from painting, which I much rather do.
Do you have a network of other artists, and how do they support you?
It’s so important to be surrounded by supportive and positive artist friends. Because being an artist could mean having the constant self doubt and insecurity within us. The ups and downs of not making ends meet or the frustration of a failed painting. These friends could provide views from a different angle and perhaps ways for us to solve problems. A network of supportive artist friends means people to commensurate with as they understand what it is like to be an artist. Many people think art is a glamorous job and that it’s easy and only artists will understand what we as artists go through mentally and physically. Lastly, you need one or two trusted artist confidants/advisors. When we are frustrated with our paintings, these are people I trust for their artistic eyes to point out things that I may have missed when I’m stuck with a painting. You might have advisors who are not artists but still have great eye for art, though for me, my advisors are my closest friends at the same level I’m at.
How do you manage a work-life balance as an artist?
I try to find the balance with work, self care and time with my family and friends. It’s so easy to forget to take care of ourselves when we are completely immersed in art. I have to remind myself to have my meals on time and take breaks in between painting and work, to stretch and hydrate. I also make it a point to take time off on the weekend to spend time with my husband and friends. Lastly, it is important to be active and keep myself healthy physically, and to have enough sleep and rest everyday. It’s not always possible since we get into so many things in life, but I always try my best to adhere to a balanced lifestyle and schedule. I’m still learning to say no to things.
Describe your ideal working environment.
My ideal working environment would be neat and tidy with lots of storage space and stations for every task I need to complete on a day to day basis. I will have a large north facing studio with floor length windows or skylights, getting the most constant source of lighting. I also dream of a decent size space for photo shoots and have it double as an area to teach small groups of students. At the moment, I’m making it work with a small space I have, but one can only dream and hopefully make it a reality someday.
How has your education helped you in your career?
I was classically trained and took weekly classes on and off for a year. Then, I attended workshops with artists I love and admire, learning how to paint alla prima (wet on wet). There are so many ways to start and finish a painting. During this time, I have tried painting many different subjects from different artists. You name it, I tried it, be it master copies, still life, painting people, animals, landscapes… Having tried everything helped me discover what I love painting the most, people. And having the foundation on how to create an archival painting has helped me create work that will last many lifetimes. There was a point in time, I was copying my teachers as closely as possible, painting the way they do. But over time, I was able to move away from copying and build my own style of painting. It’s important for me to not lose my voice as an artist but to apply everything good into my practice in the studio and on set. It is so easy to become the “mini me” of these artists. I learnt to not lose myself in the process. If it doesn’t feel comfortable, it’s not me, don’t do it.
What was your first experience of working as a professional artist?
It was during the beginning of the pandemic in 2020. I felt the pull and needed to do something to help. I painted 9 portrait commissions for a donation to Feeding America. It was a great experience and it jump started my professional art career.
Tell me about a time you received negative comments or harsh criticism. How did you handle it?
There was a time when a viewer of my Mother Teresa’s painting commented that she does not have enough wrinkles on her face. I just laughed it off replying that Mother Teresa was not always old and wrinkly. She was once young and vibrant but always charitable and loving. I have yet to feel offended when people give me criticism. You can’t please everyone.
Describe a piece of art you are most proud of. Why?
I am most proud of my work “Reality”. It is the largest painting I have ever painted. It was a little nerve wracking to create such a large piece of work. Everything is larger than life, the frame, the panel and the brushes I used to paint it. With a total measurement of 47” x 76” frame included, I had to rent a van to transport it from my studio to the Laguna Beach’s Art-A-Fair exhibition. It was also the largest painting ever exhibited there and was everyone’s favorite. It is also in the finals of the Richeson 75 Figurative Competition and a semi finalist of the Art Renewal Center. Since Art Renewal Center partnered with the Lunar Codex, an image of this painting will be launched through a Nasa mission CLPS-TO-20A, via the SpaceX Falcon Heavy rocket and the Astrobotic Griffin lunar lander, headed for the lunar south pole in September 2025. To say that I am proud is truly an understatement!
Patricia Schappler | Evocative Paintings →
American artist Patricia Schappler is best known for her evocative figurative drawings and paintings. She combines realist and expressive traditions of observation, memory, and imagination, creating sprawling narratives of family life. Her work is characterized by strong lighting and expressive surface. Rooted in home; themes of birth, childhood, motherhood, aging, and partnering, recur. She is inspired by the complexity of human relationships and the bonds that hold them. Schappler is a native of New Hampshire with her BFA in Drawing from the University of New Hampshire, and her MFA in Drawing and Painting from Brooklyn College. You may see her work published in magazines which include American Art Collector, Pastel Journal, American Artist, Strokes of Genius, Manifest INPA and INDA, PoetsArtists, and Studio Visit. Schappler has exhibited nationally and in Ireland, and her awarded works may be found in both public and private collections throughout the States, India and China.
What's the purpose or goal of your work?
Most of my work begins with the desire to share a meaningful image and in that sense, connect with the viewer. I want to create moments of recognition whether through a familiar gesture, a quality of light, or the passage of time which reaches the viewer in a way that remains, so we join within the space of the work as friends.
Which art trends inspire your current work?
I look at contemporary realism and work from centuries past equally, swayed by quality, mood, and conviction. I love pattern and look at textiles from around the world and have been thinking more about connecting the spaces I’m interested in: nature/our planet, animals and the figure.
How do you manage a work-life balance as an artist?
Sometimes managing a work life balance is messy. I teach drawing and painting, paint out of a home studio, have four adult children just beginning families, and an extended family with both spectrums of newly born and far into the aging process. I exhibit as regularly as possible and don’t when I can’t. At the moment, I have work at WMOCA, and at the Dunfey exhibit, as well as online with 33 Contemporary. Within the next month, I’ll be exhibiting with Great Bay Community College, New Hampton School, and St Anselms College. Work balances with family, tipping to and fro depending on human needs, but art is a way of living and never far from my thoughts and actions. I have a lot of good energy, prioritizing home and community and within that, finding many subjects and points of inspiration.
What are your favorite and least favorite parts of professional art?
I love the process of thinking and doing, creating something from ideas and observations, moving materials in my hand, watching work come to life through methods and processes until something that wasn’t much becomes something satisfying, engaging… shared. The same applies to seeing works and engaging with ideas, feeling enlightened through another persons’ choices. Demands of social media and marketing are time consuming activities and add to pressure over deadlines, time which I’d prefer to spend in the studio.
What are your most valued skills as an artist?
I see with empathy.
Do you have a network of other artists, and how do they support you?
I have a small local group of artist friends…we comment on imagery, let each other know when competitions are coming up, try to attend exhibits where we have work from the group, hurrah each others’ wins, and in general help each other to feel a part of something a bit bigger than ourselves. I am also part of several artist associations and groups like PoetsArtists where even if I’ve never met the members, we feel like we know each other from our posts, our art work, our general enthusiasm for each other.
How can your work affect societal issues?
I’m not making work that directly affects societal issues and yet I cannot make work that isn’t about society, how I am feeling within it, where my concerns lay. I’m a woman, a mother, daughter, wife, instructor, artist, so many labels, but it comes down to creating images as a window into my life giving voice to experiences both of joy and sorrow, and, in the process, discovering domestic and heroic scenes are not dissimilar. I present figures through the lens of wonder and respect, the sharing of stories around themes of family, friendship, home … I believe when we recognize loved ones in others, we remember the best of what it is to be human, so perhaps I’m working on my own quiet revolution that celebrates humanity, resiliency and possibility.
Kim Leutwyler | Painting the LGBQT Community
Born in America, Sydney-based Kim Leutwyler migrated to Australia in 2012. She works in a variety of media including painting, installation, ceramics, print media and drawing. Leutwyler's current body of work features paintings exploring notions of beauty, gender and queer identity. She has come to focus on painting as a medium because of its primarily masculine history in the western art canon. Her artwork has been exhibited in multiple galleries and museums throughout Australia and the United States.
Rachel Linnemeier | Complex Figures
Rachel Linnemeier’s subject matter includes powerful women in situations that both evoke strong feelings of nostalgia and inspire narratives. The overarching theme of Rachel’s work includes tension between the idea of modern adulthood and residual childhood. Each piece is composed of bright and vivid colors creating a youthful feeling while simultaneously expressing maturity through the pose and expression of the figure. Recent works have begun to explore the addition of landscapes to create complexity in narrative.
Add to your art collection @Artsy
Pippa Hale-Lynch | Submerged Figures
Pippa Hale-Lynch’s paintings use figures and portraits to capture intimate moments of solitude and grief. She is a contemporary figurative realism artist working primarily with oils. Her works incorporating figures suspended within water capture beauty in fleeting moments of solitude.
More recently she is exploring the theme of grief, stemming from her mother's tragic and untimely death when she was 20. At first glance, the playful use of the sugary jam can be mistaken for blood, a visual representation of the wounds left by the destruction of grief experienced by the sitter.
Pippa uses techniques learned over 12+ years of practice and training in traditional representational drawing and painting. She uses herself, her family, and loved ones as sitters to best reflect the intimacy of the work.
Amy Ordoveza
Amy Ordoveza is a contemporary realist artist who creates detailed, imaginative still-life paintings. She carefully crafts and arranges the delicate cut-paper plants, animals, and architectural elements that she depicts in her oil paintings. The fragility of the paper objects suggests impermanence while Ordoveza’s close observation and meticulous handling of paint hint at their significance. Her compositions evoke a sense of beauty and mystery in ordinary surroundings.
Ordoveza received her MFA from the New York Academy of Art and her BFA from the Maryland Institute College of Art. Her historical influences include 17th century Dutch still life painters including Rachel Ruysch and Jan Davidsz de Heem as well as surrealists such as Kay Sage and René Magritte. Ordoveza’s work is included in the Lunar Codex and the Nova Scotia Art Bank and has been featured in publications and websites including American Art Collector, PoetsArtists, and Booooooom!
Leslie Singer
Leslie Singer attended the New Orleans Center for Creative Arts and studied art at Georgetown University, then stopped painting to pursue a public relations career. When the man who was to become her husband asked her what her favorite painting is (Vermeer’s Girl With a Pearl Earring), it launched an ongoing conversation about art that led her back to palette and brush and resuming her studies at New York’s Art Students League and the Scottsdale Artists School.
As a figurative painter, Leslie approaches each work as a study of light and shadow upon which she builds and embellishes. Heavily influenced by the worlds of design and fashion, Leslie has drawn inspiration from New York City, her home for three decades and, most recently from Santa Fe and the Southwest, where she now lives. Her work has been described as both feminine and feminist for its depictions of strong, independent women.
Artists who share Leslie’s passion for the figure who have influenced her work range from nineteenth and early twentieth-century masters such as John Singer Sargent and Tamara de Lempicka to contemporary painters such as Michael Carson and Malcolm Liepke. Like theirs, her canvases depict highly stylized portraits that privilege mood and feeling over realistic representation.
Leslie’s work has appeared in galleries across the U.S., and her painting “Katya” was recently selected as the cover of acclaimed writer Daisy Alpert Florin’s novel “My Last Innocent Year.” Leslie’s works are owned by collectors in the Americas, Europe, and Asia Pacific.
Q&A
What's the purpose or goal of your work?
My work emphasizes visual impact over narrative content. It is influenced by fashion and design, with an emphasis on feminine and feminist themes. A collector once told me she was going to hang my painting (Desert Gypsy) in her bedroom so that it was the first thing she saw each morning and would be inspired by the strong and beautiful woman it portrayed. I thought that was the ultimate compliment and aspire to create those types of reactions and connections through my work.
Leslie Singer | Desert Gypsy, 2021 | Oil on panel 14x11 inch
How has your style changed over time?
My passion has always been representational art. In school I was frustrated that it was not taught. This led me to pursue a different career, which ultimately allowed me to return to painting on my own terms, studying at the Art Student’s League in New York and Scottsdale Artist School. I never want to stop learning, and my painting style has evolved as I have continued my studies. Travel and living in different parts of the country has also influenced my work and many of my recent works have a Western flavor since I now live in Arizona and New Mexico.
Do you have a network of other artists, and how do they support you?
I’ve met many other artists through schools and workshops around the world and have developed lasting friendships. I also live in Santa Fe and Scottsdale, both of which have great art communities. Many of my friends and neighbors are artists. Beyond the camaraderie, these friends provide invaluable advice, encouragement, and inspiration. Like most other artists I also have a social network on IG, Facebook, etc. where I can connect and get feedback from other artists from al over.
How do you manage a work-life balance as an artist?
Prior to becoming a full-time artist I was head of corporate communications for a global business. I painted in the evenings and on weekends. I used vacation time to take workshops or participate in art fairs. Today, as a full-time artist, I still manage my time so that I’m balancing time in the studio with time doing marketing, learning, networking, and traveling to recharge and get inspired.
How has your education helped you in your career?
I changed course from art to English in college. I have a BA from Georgetown University I think that communication is a vital skill for success in any endeavor. And it’s more important than ever for artists as we have so much opportunity to take ownership of our careers, getting our art out to the world using social media and other channels that allow us to get broad exposure and sell our work.
What was your first experience of working as a professional artist?
At the height of my corporate career, I was still painting primarily as a hobby and was invited to do a local art. It was actually in a bar, but I did sell a couple of paintings. And it provided the encouragement that I needed to level up, move on to showing in galleries and art fairs, gain greater visibility, and sell more work.
What is the best advice you have received in your career?
“You are the best person to represent your art.” One of my first collectors, a seasoned art buyer, told me this very early on. Over the years, I’ve seen how important it is for collectors to know you and connect on a personal level.
Featured
Sarah Warda
Sarah Warda is an American realist painter from Connecticut. Using the human form, her works often reveal the vulnerability and inner soul of her subject. She received her formal education from the Lyme Academy of Fine Arts, as well as the Art Students league of New York with Harvey Dinnerstein and workshops with Aaron Shikler. Her work has been displayed in notable venues such as, the National Arts Club of New York, New Britain Museum of American Art, and the Zhou B Art Center Chicago. She has participated in several exhibitions including Connecticut Women Artists, Catherine Lorillard Wolfe Arts Club NY, and PoetsArtists. She has been commissioned for numerous illustrations, murals and portraits for public, private and corporate collections. And through the Lunar Codex, she is among one of the first women artists to have her paintings cataloged on the moon. Add to your art collection at Artsy.
Q&A
What are your most valued skills as an artist?
I would have to say it’s my intuition. I listen to my inner voice as to what feels right in a painting. Empathy and sensitivity for my subject play a big role as does my use of light and keen observation which give me the ability to describe form.
How has your education helped you in your career?
My education has had a huge impact on my skill to paint! I spent many hours at art school learning about the human form and principles of drawing. I was fortunate enough to study at The Lyme Academy of fine art under master figurative artists like Deane G. Keller and Dan Gheno. Also, several workshops with Aaron Shikler and with Harvey Dinnerstein at the Art Students League of NY. They taught me the “grammar” of art so that I could go on to express what I now want to say. Having said all this, I am forever learning.
Tell me about a time you received negative comments or harsh criticism. How did you handle it?
Criticism is always going to be there. I even find myself to be my harshest critic! The act of painting is largely a mental game. I find that stepping away from my work has been most helpful. Sometimes, I take a few days to just ponder my work and then get back on track remembering what initially inspired me to begin the work in the first place.
Which art trends inspire your current work?
Because I rely so much on my intuition when I paint, I rarely find myself following trends.
For me, I find it disingenuous to try to force something that isn’t who I am. I don’t believe in using any “gimmicks” when it come to something as sacred to me as my art. I believe that the mere act of being who one truly is as a unique individual, will set each of us apart in the most natural genuine way.
I feel it’s also important to look at other artists’ work that is of a completely different style, that it might serve me well to try new things and step out a little from my comfort zone. I can find inspiration in that.
What was your first experience of working as a professional artist?
One of the earliest recollections of working as a professional artist happened a few years after art school when I was approached by another artist who was commissioned to paint a large mural in downtown New London where I lived. The painting would incorporate five figures about 40 feet high that the artist had apprehensions to execute. I saw it as an incredible opportunity and tackled it with gusto climbing rows of scaffolding and feeling like Michelangelo! I relied heavily on my knowledge of human anatomy and hundreds of hours of experience working from the live model to paint the human form at such a large scale. It was a great experience as an artist although fueled with controversy over the content of nudity, and the fact that the man who asked me to paint it took responsibility for my work. It was a real introduction to what it’s like for a female artist.
What's the purpose or goal of your work?
My goal is to connect to people on a deeper level. To get under the surface and focus on our shared humanity.
David E. Morris
Morris’s figurative realism stems from an intense and persistent interest in human anatomy from multiple perspectives: beauty in form, function, and structure. While continuing to teach anatomy at the medical school level, Morris uses charcoal, graphite, and oil paint in his artwork to convey something beyond the scientific aspect of the body. He strives to share something about what he experienced in the presence of those he represents. In this process of portraying people he explores concepts of psyche, intimacy, and gaze as it relates to gender.
What's the purpose or goal of your work?
The work that I make tends to be small and its usually about people - sometimes portraits, sometimes of figures or figures in groups based on people I have met, talked with, or worked with. So it’s personal in that way. This is also the type of work that I tend to be drawn to looking at, and that I choose to surround myself with in my own home. When I look at a painting whether it’s in my own or someone else’s home, a gallery, or in a museum, sometimes the piece grabs me; maybe I identify with it in its intention, maybe I admire the way it was painted, or maybe something else. When this happens it reminds me of humanity - of what people are capable of doing. Extending this to my own work, I hope that if I make the work truthfully there will be others that come across it, that are drawn to it and that it incites some appreciation for humanity and gives hope for humans’ continuing to make things by hand.
Do you have a network of other artists, and how do they support you?
33PA has been an important network, as it is a worldwide group of artists who share a common interest in figurative-based work. I have become friends with some PoA members through the internet, while others who live near me in Chicago I have met in person and, collaborated with through portraiture projects, and attended each other’s openings. In either case, members stimulate each other in terms of responding to common themes in exhibition calls, seeing how each other address these calls, and sharing technical and marketing ideas.
What factors influence the price of your work?
My pricing is based on size of the painting per square inch. From that I calculate a baseline price which I may modify based on any of the following: complexity (eg. does the piece contain one versus multiple figures), whether it is framed, and the commission of the gallery for the particular show.
Describe your ideal working environment.
Much of my work is based on the figure or multiple figures within an environment or scene. When working on a piece where there is any sort of complexity, I break up the process into stages: concept sketches or thumbnails, acquiring the references (drawings and sometimes reference photos), value and color studies, transferring the piece to a substrate, and then the final painting. My ideal working environment depends on which stage I am in, as stages vary in terms of required concentration. For initial small concept sketches, I can do these anywhere. For value and color studies and for the final painting, I need to be in my studio, at my easel where I work under good quality lighting and have enough space to walk back and forth to assess changes. I like background music, sometimes jazz, sometimes electronica, but it can’t be too complex because it will distract me from solving the painting problems.
When I am at the stage of working with models, I do everything possible to make those enjoyable sessions from the perspective of the model- from setting a comfortable temperature to having them pick the music. I have my studio set up well before such sessions in terms of lighting, props, furniture, etc. I always communicate with models beforehand as to the concept of the painting, types of poses I am looking for, and types of clothing if applicable. Often I will email them sample images/sketches to give them an idea.
What are your most valued skills as an artist?
I recall a quote that goes something like “every invention starts with a drawing, even on a napkin in a restaurant.” I think drawing is important for everyone to learn. For visual artists, especially those that work figuratively it’s indispensable and its important to continue to practice and refine.
An ongoing curiosity is valuable - about nature, about visual phenomenon, about why things appear the way they do, about how I can represent objects in a convincing way, and about why I like or don’t like certain pieces. This sort of questioning is what gives me, or any other artist their unique voice. That voice is bound do resonate with some other people, while not with others, and in fact it may even upset others. Through such curiosity and questioning, we each develop our uniqueness that will come across in our work, and that’s important, in fact beautiful.
What is the best advice you have received in your career?
Perhaps paraphrased, but persevere in continuing to make your work, especially starting new projects, and make a lot of work. Most of the visual artists and musicians that I admire were prolific and I am sure made a huge amount of work that most of the public doesn’t know existed. Realize that in your work there will be some successes (eg. acceptance into a desirable show, or even just making a piece that you feel good about) and many more failures. Don’t spend too much time thinking about any one success or failure, but rather keep moving ahead in making the best work you can.
Featured
Deborah Scott
Deborah Scott is the originator of Structural Omission, a framework in contemporary realist painting that reframes absence as a structural condition of representation. Her paintings hold the known and the unknowable together, embedding incompleteness as architecture rather than style. Exhibited in museums including the Fort Wayne Museum of Art and the European Museum of Modern Art in Barcelona, her work has also been featured in Fine Art Connoisseur, American Art Collector, and Poets & Artists. She has attended residencies at the Vermont Studio Center, Byrdcliffe Arts Colony, and the Museum of Loss and Renewal.
Do you have a network of other artists, and how do they support you?
Engaging in visual art is inherently a solitary pursuit, and the presence of a network of fellow artists is vital for my overall well-being. I am fortunate to be part of various artist "tribes" that offer diverse connections, including artists, curators, enablers, and muses. My primary support systems currently revolve around the art students I work with, past studio mates, fellow artists from group exhibitions, artists discovered through social media, and those I’ve built friendships with through artist residencies.
These networks offer inspiration, creative energy, and valuable insights into the motivations and methodologies of fellow artists. The reciprocal nature of these relationships allows us to expand our connections within the art community. Most importantly, there is a profound sense of fulfillment derived from being present for others as a friend, meeting them in their moment. By extending support to fellow artists, I am simultaneously nurturing my artistic journey.
What are your ultimate career goals?
To have the freedom to be fully committed to making art and to have time for the people I care about.
Describe your ideal working environment.
My week revolves around 3-5 days spent immersed in the studio. When I'm in work mode, I deliberately eliminate distractions – no texting, no calls, no
social media, etc. My studio mirrors this intentional minimalism; the sole focus is the canvas on my easel. My workflow involves intense 20-minute work blocks followed by brief breaks. Stepping out of the studio, attending to messages, and scheduling time with family and friends rejuvenates me. I've identified my optimal focus span at 15-20 minutes; surpassing that threshold leads to fussiness and overworking. This approach aligns seamlessly with my personality. It's a delicate dance between complete immersion and stepping back for a broader perspective, perfectly attuned to my style
What is the best advice you have received in your career?
Work hard. Trust yourself. You are not for everyone, and your work will not be for everyone. But it will speak meaningfully to some.
Tell me about a time you received negative comments or harsh criticism. How did you handle it?
I jumped right into the deep end by attending a full-time atelier program with essentially no art background. The initial feedback on my first project was brutally honest, with the instructor expressing that my presence in the program was precarious. Rather than succumbing to the sting of criticism, I viewed it as a stark but accurate assessment that fueled my determination.
In response, I opted for an unconventional approach. During breaks when fellow students were away, I dedicated myself to daily sessions at the school, working with unwavering intensity and initiating a new drawing every 20 minutes. The negative comment served as a catalyst, motivating
me to challenge my limits and measure my progress within a condensed timeframe. By the time my peers returned, I felt I had not only caught up but had also gained the confidence to move forward with renewed assurance in my artistic journey.
Deborah Scott Unsettled, 2024 | Oil and mixed media | 24 x 18 inch
Describe an artwork you are most proud of. Why?
There is no singular work of art that earns my pride. Rather, my pride and heart belong to whatever canvas is currently on my easel. It is within this space of possibility that my pride soars. The act of painting feels to me like an active dialog. The canvas, my collaborator, conveys its needs with each consecutive brush stroke. I am an impatient person, but oddly, I have a lovely, patient approach to art making, a trust that the painting will reveal itself in due time. This process, seemingly mystical, transforms the act of creation into an act of discovery. The completion of this artistic journey is not just a finished painting but also a memory of my exploration of the realm of creativity. The culmination of this artistic dialogue is not just a personal triumph but a story to be shared, a revelation that transcends the boundaries of my studio to engage others.
Featured
Daggi Wallace
Laurence O’Toole
Laurence O'Toole is a realist painter whose work is a melding of figurative and nature with a surrealist approach to convey the message in his works. A self-taught artist from Ireland, he has had many solo shows in Ireland and abroad and is present in many group shows including museums in the USA.
Q&A
What's the purpose or goal of your work?
I have spent my life looking for something beautiful in my work, something meaningful and worthwhile. I am driven by the natural world and all its magical revelations and as I have aged, this fascination has morphed into the backgrounds for my narrative pieces. Pieces about life, society, humanity, pieces about hope.
How do you navigate the professional art industry?
This industry and career has changed a lot since I first started showing, back in the 80s. It was a career with more painting and deliberation and contemplation, Where you spoke with your gallery on a weekly basis as you shipped or dropped new work to them. Now I would spend as much time painting as I would with the admin side of my career, It is not worse, nor better, just different but a very necessary part of this modern art world, as contact and promotion, inquiry and submission, social media growth and presence has to be maintained.
How has your style changed over time?
I am probably painting over 40 years now, I am self thought, as it was my only option when I was young. It is a very slow progression but very rewarding, it brings you down paths that you may have otherwise been warned to steer clear of. But everything we do, we learn from. I started out with a form of magical realism and slowly drifted into abstraction, then came back to realism and am tipping into magical realism again, as the circle becomes complete
Do you have a network of other artists, and how do they support you?
I have maintained a good relationship with many of the artists that I have met along the way. I believe it important, as I can bounce ideas off people I know will answer me honestly. I also get to see their new ideas, styles, reasons and encouragement, when you’re lucky. It's like living abroad in a foreign city, but having a small band of people who all speak your language.
Is there a specific environment or material that's integral to your work?
For me, I like the studio to be mine, as in, I like to work alone, music going, canvases in all states of progression, books and reference at hand. I always tend to have the studio in my home, I like to wake up and walk straight in, fresh eyes, see many things. It also allows me to eat and live with the work and this can bring good closure to some pieces.
What factors influence the price of your work?
Sales and accomplishments are the real triggers for my prices to increase. It is seen as a sign of success to have elevating prices every few years but it is also a precarious path, as the more money your work commands you may find yourself in a shallower pool of clients. But as we grow we sometimes spend longer on our works and this reduces our output, which in turn, increases our prices.
How do you manage a work-life balance as an artist?
I travel as much as I can. I will do residencies abroad, get out of my comfort zone, and experience new places and people. I will get in my car and drive to Europe for months on end, away from the repetition of day to day life. I will paint and travel and then return to the studio refreshed and start the whole process again.
What is the best advice you have received in your career?
I met a painter on a flight to South Africa back in the 80s. He was famous in SA and I was only starting out. I was in the seat next to him and we chatted over the 12 hour flight. He was very generous with his experience and knowledge and told me that I needed to find that one thing that I would never tire of as this will also be the one thing I excel at. I need to work it, until it becomes my nature, then I can wander into any unknown territory for I will be well equipped.
Laurie M. Landry
Laurie M. Landry is a Deaf Canadian contemporary artist. She is particularly intrigued by the ways in which the hands and bodies can communicate an idea without speaking. In her paintings in oil on canvas or panels, she focuses on the power of hands to convey meaning and emphasize spoken statements by using gestural hands with contemporary subjects.
Q&A
How can your work affect societal issues?
The Deaf community's concerns regarding the potential loss of American Sign Language (ASL) due to advances in medicine and technology are deeply multifaceted. ASL is not merely a tool for communication; it is a cornerstone of Deaf cultural identity, linking individuals within a shared community and history. Centuries of historical oppression and forced assimilation have spurred a resilient movement to safeguard ASL against the pressures of the medical model, which often seeks to 'fix' deafness.
Advocates tirelessly emphasize the linguistic equality of ASL and its myriad benefits, working towards legislative protections and raising awareness about its profound richness. There is a palpable fear that an overreliance on technological solutions might erode the need for traditional, face-to-face ASL communication.
My artistic work is a response to these critical issues. I aim to highlight ASL as a cherished language and a vital part of Deaf cultural heritage. Through my art, I strive to visually represent the depth and beauty of this language by using hands as a central motif, capturing the essence of ASL's expressive and gestural nature.
Laurie Landry | Playful Gracesof AJ, 2021 | Oil | 38x76 inch
Which art trends inspire your current work?
The Baroque era (Rubens, Rembrandt and Gentileschi); “disruptive realism” artists such as Lucien Freud, Jenny Saville, and Alex Kanevsky; and Cubism, particularly where the focus is on overlapping body movements.
How has your style changed over time?
When I began my artistic journey, I started with acrylic paints, focusing on still life and landscapes. As I honed my skills, I transitioned to oils, delving into the world of landscape and still life painting in the styles of old masters such as Cezanne and the Dutch still life painters.
However, my true passion lay in figurative works. To delve deeper into this passion, I went to Paris to immerse myself in a month-long study of figurative drawing. Despite my initial lack of skill, I was determined to improve, dedicating myself to practice and seeking guidance through workshops and mentorships with masters like Cesar Santos and Nicole Sleeth.
Around four or five years ago, I underwent a significant shift in my artistic approach. I moved away from what I term 'technical painting' and began painting from a deeply personal perspective—drawing inspiration from my own experiences. Being a deaf woman, I found profound meaning and authenticity in creating artworks that reflect my unique perspective and journey.
What are your favorite and least favorite parts of professional art?
My favorite aspect of being an artist is the opportunity to connect with various individuals in the professional art world—meeting artist peers, engaging with art consultants, discussing with gallery managers, and sharing moments with those who genuinely appreciate art for its intrinsic value. It's incredibly thrilling when a random stranger reaches out to me, mentioning they encountered my work in an unexpected place and how much they loved it.
However, my least favorite part is encountering the darker side of the art world—scams and greed that exploit artists and collectors. These experiences have made me cautious about those who approach me out of the blue. It's a reminder that, unfortunately, one can never be too careful in navigating this industry.
What factors influence the price of your work?
As an artist, I carefully consider various factors when pricing my work, aiming to establish its perceived value in the art market. My education and experience, cultivated through investments in art school, workshops, and mentorships, contribute significantly to my skill and craftsmanship. This heightened quality justifies the higher price points I set, appealing to collectors who seek exclusivity and appreciate the mastery behind each piece. I also look to my peers, aligning my prices with those of similarly skilled contemporaries to ensure competitiveness and a sought-after position within the art scene.
The past sales of my artwork serve as a benchmark in my pricing strategy, reflecting the value collectors place on each acquisition. By maintaining consistent pricing, I aim to show respect for my patrons and cultivate trust in my work. I also factor in materials and production costs, showcasing the investment in premium materials and the labor-intensive nature of creating each piece. The size and complexity of my artwork further contribute to its price.
In the evolving art market, considerations such as past exhibitions and gallery placements underscore the exclusivity of my art, emphasizing its value beyond the canvas. Ultimately, my pricing strategy blends my skill, reputation, and market awareness.
What are your ultimate career goals?
My ultimate career goal is to be featured in renowned art museums and to secure representation with a blue chip gallery. I aspire to achieve international recognition and respect within the art world.
Tell me about a time you received negative comments or harsh criticism. How did you handle it?
When I posted my painting, 'The Playful Graces of AJ,' depicting a person who is Deaf-Plus, specifically living with cerebral palsy, I received generally positive reactions from the Deaf community. However, one person, who also had cerebral palsy, reacted very negatively, accusing me of mocking both AJ and cerebral palsy itself. I was taken aback and deeply concerned.
In response, I reached out to AJ directly to seek her perspective. I asked her if I had misrepresented or mocked her in any way with my painting, and I made it clear that if I had, I would remove the painting from public view immediately. To my relief, AJ loved the painting. She told me that it captured her personality truthfully and honestly, and that it resonated with her deeply.
AJ also reminded me that while there may be individuals who are disturbed by such representations, there are many more who appreciate the honest portrayal of multiple disabilities. She shared that the painting had a positive impact on many within the community and beyond, lifting their spirits and validating their experiences.
This experience reinforced to me the importance of engaging directly with the individuals I portray and seeking their perspectives. It also highlighted the diverse reactions that art can evoke, and the need to navigate these sensitivities with care and openness.
Describe a piece of art you are most proud of. Why?
As an artist, the journey of skill development is constant. There are moments when you reach a new level of competency, a feeling of leveling up that is incredibly rewarding. For me, 'Breathe' is that painting—it informed me that I had pushed through my limitations and that I have the potential to continue growing and improving.
Artists Painting Artists | A Window into Creative Souls →
Diana Carolina Lopez | Kate’s Resilience, 2023 | Oil on canvas | 31 9/10 × 23 9/10 in | 81 × 60.8 cm
In the realm of painting, there's a profound beauty in artists painting their peers. This practice is more than just a mere portrayal; it's a tribute, an intimate dialogue between creatives who share a relentless impulse to express. The online exhibition "Artists Painting Artists" magnificently en- capsulates this concept, offering viewers a chance to witness one artist's perspective of another's essence.
Imagine a world where each brushstroke is an ode, where every color and line is a symbol of respect for a fellow artist's journey. In this unique form of portraiture, the artist is both a narrator and a participant, engaging in an unspoken conversation with their subject. It's akin to self-portraiture, yet here, the artist sees themselves through the eyes of another, providing an external viewpoint that is often enlightening.
The exhibition leads us through various narratives, each portrait unfolding a story that beckons us to explore deeper. There's a certain magic in the gaze captured by these artists. It invites us to ponder, to lose ourselves
in the depths of the subject's character. What lies behind those eyes? What stories do they tell? These are questions that resonate throughout the gallery.
Historically, the art world is rich with examples of artists painting their contemporaries. These portraits are not just mere records; they are tes- taments, eternalizing the honor and reverence of being the subject of a fellow artist's canvas. They forge a bond across time, connecting the past, present, and future in a continuous thread of artistic admiration.
As you delve into this exhibition, let each portrait intrigue you, drawing you into the narratives they weave. Each piece is a journey into the heart of creativity, a celebration of the artistic spirit that connects us all. This is not just an exhibition; it's a homage to the enduring bond between artists, a tribute to the shared passion that fuels their creative souls.
- Sergio Gomez, MFA
Kei J. Constantinov
“I conjure neo-medieval, Magic Realist imagery and custom frames, using
time honored methods and materials, seeking to “edutain” my audience.”
Best known for her neo-medieval “magic realist” paintings dealing with courtesans, organ grinder monkeys, Moors and vanished landscapes, Kei J. Constantinov’s work may be likened to historical fiction excerpts: gilded vignettes of a European dreamtime featuring Venice.
Her self-crafted oil panels embedded within frames redolent of 15thC Italy, enhance her narrative oil and egg tempera work, executed with time-honored Flemish and verdaccio techniques. In tandem with ancient materials she often uses contemporary methods and tools, such as CMYK oil glazing, for an indirect and jewel-like effect.
Conjuring influences such as Albrecht Durer, Rembrandt, Holbein and German illuminated manuscripts, she invites us to reflect on her imagined, nostalgic milieu, reconsidering the splendor of human folly.
What concept or narrative is behind your work? When I was a lithographer everyone asked me “what’s the story here?”, so I came to understand my work was narrative, and began using triptychs with the beginning-middle-end model. Now I am working serially and larger in painting, employing nostalgic, old world imagery – Italian, and (often) specifically Venetian. Through the use of metal foil gilding, high relief frames and nostalgic imagery I create time capsules, often alluding to medieval courtesans, organ grinder monkeys, imagined cityscapes and palettes which I hope are evocative of the past, but with a contemporary spin.
What medium do you use for your studies, and how does that translate to the final painting or artwork? Because each of my paintings are embedded into a Faux Relic, self-styled frame, the process is considerably longer – so my preliminary studies are often just dashed off on scrap paper, but then refined and drawn directly onto the image area. In the old French method one would do many studies, but unless I received a large commission, which entailed showing the client the concept, I prefer to work directly.
What turns has your art career taken? Following an MFA at Umass, Amherst, I moved to New York and taught for seven years at Bob Blackburn’s Printmaking Workshop in Chelsea. At that time I also received a Revson Grant from the Art Students League, which enabled me to create an artist book with handset type and lithographic images – so I was very much identified as a stone lithographer. Fate and marriage took me into the realm of interior design, where I had the opportunity to convert an historic church property into a B&B and cultural center on UM campus in Ann Arbor, which I ran for sixteen years, untold we sold in 2013. So since then I have been painting almost exclusively, while keeping my hand in as a fiction writer.
Explain your process. Tempus Edax Rerum was executed in a CMYK oil process (cyan, magenta, yellow, key = black), a commercial method of color layering in printshops, which I teach as an oil approach. Using transparent oil glazes one can achieve a stained glass effect, as the colors bounce up from the image below, creating a glowing effect. The wood panel was embedded into the custom frame, prepared with oil ground, then secured and sealed from behind. An antiquing process, corner bosses, gilding and forger’s varnish were used. The same approach was used for Venetian Monkey and A Moor in Venice. These works are all available at present, at Studio Krakow or through 33 Contemporary Gallery. Haven Gallery in Northport, New York also has some works available for purchase.
What is the impetus of your creativity? I think many Creatives are blessed with excess energy, and perhaps my compulsion to paint many hours each day stems from a channeling need. I do take infinite pleasure in it, and it is my “practice”, much as other people have yoga, religion, or cybergames for channeling. Then there is that metaphysical explanation, the “je ne sais quoi” aspect which approximates a spiritual experience while working! Habit forming . . .
Elvira Kravenkova
“I paint the beauty of ordinary things and people and my thoughts about this world.”
Elvira Kravenkova is an award-winning Canadian artist residing in greater Vancouver area. She works in impressionistic realism style rooted in her Russian background. She was born and started her art education in Russia and later, after coming to Canada with her family, continued her art education going through Anatoly Badriashwilli’s studio and Mandy Boursiqout’s Atelier.
Elvira is teaching art since 2016 when she was invited to instruct at a private art school and started to teach at her studio. Kravenkova’s works are in private collections in Russia, Australia, Italy, Israel, USA and Canada. She shows her works internationally and in Canada (including multiple juried and curated shows). In last three years she participated in four museum shows in the US and Canada.
What is the impetus of your creativity?
I can not stay away from my art materials for too long, at least a graphite pencil and my sketch book should always be in my car or in my purse. While other people talk about their day, I sketch my impressions of the day. Art is my way to communicate with the world and the thing that helps me to get through even toughest times of my life. It also helps me to find like-minded people who finally become my friends and collectors. So, the impetus of my creativity is my love to life and interesting people.
What is your art philosophy?
World is beautiful. Even when I go through some terrible times, my ability to find beauty everywhere, helps me to get through. I remember my conversation with my grandmother when she was about eighty-six. She told me that she was tired of life and a few minutes later she asked if I could help her to replace her window curtains with something nicer. My answer was: Sure. And then I laughed and told her it means she is not tired of this life. She also laughed and said she is tired but she still wants to be surrounded by beautiful things. With the help of my art, I try to teach people to notice wonders and beauty of this world.
What medium do you use for your studies and how does that translate to the final painting or artwork?
For my studio works I spend a lot of time to do preparation. I start with multiple thumbnail sketches, which are done with graphite pencil, trying to find the best composition and light. I also use my reference photos when I need them. After I decide what thumbnail sketch is the best for my painting, I start doing color studies where I use either watercolors or oil paint. My choice really depends on my mood, it is not my technical decision.
If I work with a model, I usually start sketching with charcoal or Conte crayon and later work with oil paints. For my final paintings, I usually use oil paints which is the medium that I love more than anything else for its versatility.
Do you ever venture out of your creative process to try out new things?
Since my education does not include art only (I am also trained in science and medicine), I love to experiment. The longevity of my art career gave me the chance to go through different styles and different mediums. I was trained in classical realism and started to show my works as a realist.
Later, when I needed some challenge, I decided to try abstractionism. It was a period of my super-bright works that were done in acrylics. I still have one of my abstract works on display in my living room. It is titled Sunny Day and helps us to survive long gray West Coast winters. My personality always moves me from one thing to another and does not allow me to get stuck. After awhile I got tired of my abstractionism period and got back to realism, this time it is impressionistic realism. I also love to try different mediums, including some digital sketching and try to incorporate the results into my oil paintings.
New things always inspire me and keep me learning.
This portrait was inspired by the personality of Anna Rivina who used to fight for the most vulnerable people in Russia and now, after being forced to leave Russia, started to protect women and children who are going through difficulties of adaptation after they had to leave their own home countries.