Lana Svirejeva

The Subject of my Artistic Interest.

Upon seeing a painting of St. Sebastian in the Uffizi Gallery in Florence, Italy at the age of four, I vowed to become a painter in the classical tradition because I wished to paint the saint out of his agony by omitting the arrows that pierce him. True to my word, by the time I was 17 such a work among others was shown in a solo exhibition, and since then I've been learning about 19th century draftsmanship at The Florence Academy of Art and painting with Odd Nerdrum.

Through vision the world flows though me and out from my hands - for this process I typically use mediums such as charcoal or oil paints to draw from a live model. Since Art has the ability of being didactic in the honor of something and reminding us of what there is to love, my works are an expression of reverent delight in the things I see. Art also takes us on a journey into different worlds, teaching us of the loves, tastes, and sorrows of hearts that beat today and in times past. Hence my goal is that my paintings live so that people seeing them now and in the future empathize with the persons involved in the creation.

Now that I'm almost done with my education at FAA and am studying onward at the Edinburgh College of Art I propose to achieve this by exploring a variety of aesthetics in order to find a way to become a realist of our time rather than an outdated one, while still growing from art historical roots by remembering that things such as beauty and greatness are universal and repeat themselves in variations, thus combining the original with the classic. Papua New Guinean arts have always rung a note with me because of their juxtaposition of the dusty with the vibrant, which seems to represent things morbid and things loved. I want to use a similar look to explore the shushed but also most deeply human parts of life that are connected to nudity and mortality, to teach people in our hectic times to calmly accept and warmly embrace them.

Furthermore, another reason for painting in our times is that nowadays there is much emptiness in both the production and the consumption of things despite there being a deep human need for truly loveable objects that weren’t created in a factory where the people who made them didn’t care for what they do and suffered terribly from a void of meaning. In order to be a great figurative painter today it is instrumental to achieve a technical level where no one can say that one's work could be replaced by a photograph.

My plan for this it to keep in mind that oil paint can describe the actual sensation of every material unlike any other medium, so through brushwork paint can come to writhe with emotion for the subject. In our society of flatness, of living in a virtual world by looking at all through a screen, painting is a reminder of the tactile, the bodily, the rough, the natural in life - Every inch of the surface of the painting has been filtered through the artist's heart, and the result is a piece of wide open honesty, a place for the eye and mind to rest upon.

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