Russian (CIS)
Любое искусство не дает пользы. (Оскар Уайльд)

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Interview with the "Consent and Truth." Painter's brush.

I'm sitting at a table in a small, rather cozy cafe Klin. Opposite me sat two interlocutor. We talk. The conversation, of course, talking about art, but not limited to him alone. When you start with an interesting person to talk about one thing, then inevitably, the further into the conversation, the more you will affect the issues and questions. Talking about culture, travel, education and even a little bit about computers.

Let the reader, I will share with you part of this conversation.

But first, I probably still have to submit to his interlocutors. Very well: One of them, but rather one that is Poluboyarinov Anna V. Klinskaya young artist. In her work, I first met at an exhibition Klin artists that was held at CDC, "Glass." After becoming acquainted with the work managed to get acquainted with the author himself. First of all, that would express their respect, and secondly, what would you and the reader learns that in our glorious town has such interesting people. Anna V. radical klinchanka. She graduated with honors from the children's art school. Tchaikovsky. And the second is my companion - Alex S. Gusakov, her husband. Well, I have presented to his interlocutors. I propose now to travel back together a little bit back in time and recall the conversation. I dare to hope that you, dear reader, it will be interesting.

Yefim Tregubov: Start, perhaps, need to begin with. How did you come to what became an artist? Was it your choice or maybe just have parents and taken to an art school? When did you feel yourself an artist?
Anna V.: When I felt myself an artist? I now can not even remember. It was very early, I always liked to do something: to sculpt, paint. The choice was mine, solely mine. Parents supported.
ET: That is, there is no one particular moment. It all started with my childhood?
AV: Yes, it so happened that there was such a spontaneous choice, determined in the propensity character.
ET: Well, but perhaps the very first moment when there was something done by some kind of first job?
AV: When did the first time not enrolled in school, it was probably the turning point. I started to really, really work hard to achieve something difficult to own. And something happened.
ET: And what school?
AV: School. Moscow Art School of Decorative Applied Arts. Kalinin.
ET: And then the second time you do it?
AV: Yes, the second time I went to a department that I wanted, very lucky with the teachers, all of my life lucky with the teachers, from kindergarten. (Laughs)
ET: But first, if not secret of course, why not do it? Some exam overwhelmed?
AV: Do not have enough experience, not enough quantity of work. Not approached by the standards of the school.
ET: Here's a question. Painting is a momentary cry of the soul, even if it's written for many years, or is it some thought an idea that is lived, and then it vystradyvaetsya have to share with people?
AV: cry of the soul is more in the beginning when you start work on a painting, and at the end when you finish it. In the middle of the same for a long time, it's just work.
ET: And where do, unless of course you can be made, the boundary between work and own creativity?
AV: No clear boundary. Complex issue. (Laughs). Creativity is something that lives inside you, that you carry in your soul that you mean to throw out. And the work itself is not a minute, not two, not three, but several days of hard work.
ET: That is the case, so you want to say something, throw something, but do not want to work?
AV: Well, this is usually not the case. (Laughs) Usually it is somewhere between that side by side and there is no clear line of some sort.
ET: But force yourself sometimes?
A.: Yes. Of course. Absolutely. (Laughs)
ET: Did you do every day paint?
AV: I'm trying to work every day. Even when I do not do this job, my some things work are always before my eyes and I can always see them and think of something good that is bad, that I would like to add that to remove. Whether the original idea was a success or not.
ET: It's still unfinished picture?
AV: Unfinished, mostly. But it also happens that the return to work, which is already considered finished.
ET: Well, I guess in a sense, this is the scourge of all creators. It seems to do it, passes some time, look again, but no.
AV: Yeah, probably. There is no limit to perfection. (Laughs)
ET: Do you have a picture of "The River Sister", please tell us the story of its writing? Did you write from life, with pictures, from memory?
AV: I started working with nature. In parallel, I always make a lot of pictures. In this case, it really helps the work, because nature is not constant, and everything is not permanent.
And sometimes you want to work and within a month. And of course personal experience. I work mostly with what I saw myself, where there was some long time, because I was worried, and my work reflects not even a momentary moment, but my lasting impression of something. It was a very snowy winter, there was a beautiful, sunny, snowy weather, which kept somewhere for two weeks and this time I began to work on it.
ET: I just have to picture, though, unfortunately, I only saw it on the internet, left two impressions: first - I imagine this snowy winter, the river, cold, two bridges depicted in the picture, before you sit a cap with earflaps, coat, boots and paint.
A.: (Smiling) Well, not on the street, I of course in this weather I do not go, do not write. Working on the memories of sensations.
ET: And the second impression is there are shown two of our bridge, one old wooden and the other big highway through Leningrad, although it is in principle not new, but it's still a kind of juxtaposition, these two different worlds, or is this No?
AV: Yes, yes there is. A little bit there. Of course this is not the main idea of ​​the work, but it's there too. We have the city all such controversial enough, there's something old, something new and not always kept in close style. Mixed new and old buildings. Eclectic malenechko present.
ET: A question for another picture. I saw her at the show Klinskikh artists. "Gaia." First, let me tell you - great, great! But I say stable association with Vasilievsky works. Artist Konstantin Vasiliev. You probably know?
AV: (laughs) No. I do not know. Maybe I know him purely visual. I am confused in names, in numbers so small it's my shortcoming, I do not make friends with it. The main idea of ​​this painting is an impression of what he saw. At sunset, the ship came into harbor.
ET: That is, it's still a modern ship?
A.: No, this is a ship built to plans, the reconstruction of real boats Vikings. It is fully consistent with shipbuilding at the time, materials, technology, interior decoration.
Alexey S. Gusakov. Husband of Anna V..: We sailed on this ship in one of his trips. This is a Norwegian ship.
ET: It is connected with a series of Norwegian? And all of the series created under the influence of travel?
AV: Yes, yes. Our nations are very similar in nature to the relationship. In general, the first time was scary to go there, but then we saw that our differences are very small.
ET: It is terrible in terms of language and communication difficulties?
AV: Yes, and it is. Thought Europe, the developed country, the gap of such a cultural gap, actually it did not quite.
ET: We thought in the sense that we are backward, forward and they run away?
A. No. Just different. Very different. And in fact, not. I think that the northern nations, they are all very close in spirit.
ET: So common ground was found and simply and quickly?
AV: Yes.
ET: A picture of "Relic" is connected somehow with the Norwegian series?
A. No. In general, this is due to very old memories. This is due to travel to Enotaevku, Astrakhan region. Somewhere near the Sea of ​​Azov

AS: No, this is the Caspian Sea.

AV: Yeah, the Caspian Sea.

AS: Astrakhan. Caspian Sea. A hundred miles from the delta of the Caspian Sea, where the Volga empties. On the one hand we were Enotaevke, on the other forgotten as the place is called, one of the places where it is constantly going on summer fishing in large quantities.
ET: It was also a journey, a journey.
AV: Well, yes, savages in tents and lived on the banks of the Volga.
AS: On an island.
AV: It was very nice, very well.
ET: And if I may ask some big company or a narrow range?
AV: We had a lot of people 12, all my friends.
ET: Did you draw on such a vacation? That is, take with you any supplies?
AV; No. Usually, I do pencil and paper do not take with them. Trips generally not long, this is due to work schedules, paint, take pointless, because I love to work continuously for a long time on the paintings, so if I do something with a pick, then something like this sketch - pencil, paper does not more.
ET: The Union Klinskikh artists. He now exists? Consists you in it? What does it do?
AV: Well, the union Klin artists, as far as I know, as long as a commercial organization, and, in general, it is not. There is a branch of Klin artists in the Artists' Union of Moscow region. More recently, it all organized, as far as I know, just a lot of people entered into an alliance of artists suburbs, is already actively organized the exhibition, is a big help to artists. This is a good start, hopefully it all will progress to grow.
ET: So like recently, but it slowly began to spin, spun?
AV: Yes.
AS: Well, again, because there Makarov chairman, he is very active Klin old artist. The problem is that the artist is very hard to do an exhibition, one person, firstly, the occupancy of the room, and secondly, to go negotiate with the people for half a year, not less, well, the money issue is not unimportant role, but the union of the artists he as if all the crowd can really pounce on this problem and solve it. For example, one artist Klin rooms overwhelming. Holds 60 paintings and a solo exhibition of 60 paintings is an enormous amount of work for the young artist. A union allows it to make the national team exhibition, it is also not bad.
ET: And any immediate plans he has, you know?
AV: So right away I can not say.
ET: Well, they plan to hold any exhibitions this Klin?
AS: And in Klin and Solnechnogorsk and Moscow.
AV: One of the first exhibitions was Crocus - Expo.
AS: Yes, unfortunately we do not have time.
AV: What time only, but that's organized, we just, well, for technical reasons it did not have time to participate. Had an exhibition in Solnechnogorsk. Almost all the members involved. In Klin's first exhibition took place today. I hope this is just the beginning.
ET: Yes. That was the question. When I got into the Internet, preydya home after the show Klin artists from all the artists who were there, I found only you and another Baklanov. Well, what about Baklanov clear, the old, respected, veteran, artist.
And your stay at the network says that you advanced modern artist?
AV: (laughs) Well, actually no.
AS: (Just laughs) Can I respond to it. I am a system administrator, so it's as if my direct specialization. Site has been created, bought the domain, respectively. And for all the online galleries, which have a rating, more - at least, was placed in the case, that would be, well, at least some advertising.
ET: So you in this sense came a fruitful collaboration?
AV: Yes. Union. (Laughs). Try. And of course the artist is usually not on friendly terms with no more than a very time consuming process of creation. Most artists do not tend to the exact sciences, computer advances, we do love to work with his hands.
ET: For mundane worldly affairs. (Laughing). And this is probably so very grueling process, drawing, painting pictures?
AV: Yes. It is very hard physical labor. And, in general, it is not even a little feminine.
ET: And, by the time you can not move away from the canvas?
AV: From morning until late evening. Usually when I work, then immediately sit down after lunch for work and not distracted already, even for food.
ET: Everyone is a creator, finds himself somewhere between concepts such as classical and avant-garde. What is your relationship to these concepts?
AV: It's a very difficult question. Well of course I gravitate more to the classics. I really like the classical school, all of our heritage, beginning, perhaps, more of the cave, rock art. It's all very interesting. But I do not deny it, and some abstract work, something avant-garde. I wonder sometimes work in this direction, sometimes you want something like that, throw siyumomentno their emotions, which gives it the possibility of avant-garde art.
ET: You are at the beginning of our conversation, said that as a child interested in different kinds of art. And now you do what some other kind, or at least interested in?
AV: Do you mean something else besides painting?
ET: Yes.
AV: Yes, I like almost everything that can be done with his hands, including wood carving, carpet weaving, it's all very interesting.
ET: And we ourselves have tried to do that?
AV: Trying to try, of course, the amateurish level. It is not possible just so hurriedly to learn, but for myself I have been trying to try something new, very interesting.
ET: Well, in principle, over time, learn, learn, and to do masterpieces, and there? (Smiles)
AV: (laughs) It's so broad, well, work in two directions may still be possible, but to work professionally in several areas is unlikely to succeed.
ET: Right. Thank you very much! Good luck! Creative and everything else. Well, then, the traditional final question. Your creative plans?
AV: Work, work. As you can no longer work.
ET: What exhibit?
AV: Absolutely. This is certainly how it goes. Of course, I would like to exhibit, like, what would people see your work.
Ps links to the source obligatory.