Просебятина

Новый сайт и несколько совсем недавних статей-интервью.
Что-то можно почитать на Moleskine, Adme, Art is Alive, tutdesign, а что-то прям тут.
Все это я сообщаю сухо, но сердце мое полно благодарности.
Whoa Magazine
— What is your creative process like?
— Earlier it seemed to me that for better result one needs more time. But it turned out that doubt, problem of choice and search for best decision only bother. One needs sharp mobilization of organism. Courage and unexpected ideas appear in the lack of time. I usually read text, writing out the brightest images, turns of plot. Then I choose materials. Let’s say if the scene is set in Victorian England then one needs to flow into this epoch, look through magazines of that time, look how people dressed, what architecture was typical for that period.
— Do you cross the lines of traditional art and push boundaries? In what ways?
— I have never had goal to paint the way no one painted. I have never thought about any limits at all. Vice versa, when you just start you want to try different techniques, to imitate, to impersonate Bruegel, Berdsley, Mucha…These are laws of evolution – when you have no skills, you look and take after seniors.
And later I think if you happen to do something new, then even because in the moment of real creation all of us are dissimilar.
— Who is your target audience?
— It’s often people of my age (25-26 y.o.) and younger. Generally these are girls with subtle and lyric mindset. They are either in love or are ready to fall in love. As a whole, these are people vulnerable deep inside who are open to various feelings and encounter with something new. It’s amazing that among those who are interested in my art I do not know anyone offended by life, spiteful or depressed. It’s very important. I’d like to think that I do not do anything destructive or devastating.
— When creating, what is one object you can not live without?
— First of all I need good material. Bright text of high quality, where there is place for my pictures, which can accept them. Then I need absolute isolation – and I may switch on TV or music at the same time but the main is no one to disturb me. It’s also good if I work in the evening. I suppose these are all requirements that I impose on the world.
— How has your current work progressed from your previous works?
— I started to show my works on the Internet quite early and now it can be seen how semi-transparent, pastel tones turned into colorful palette, fragile and prudent pictures into bright dynamic images. I assume there is more self-confidence and sense now. My search is not onto the surface now and it is not always seen by spectator. But to put it honestly, I often want to do work over at the stage when it’s almost completed. And what was painted 4-5 years ago I’d like to forget at all.
— How do you react to negative criticism when it comes to your art?
— I am lucky I always painted what I wanted and how I wanted staying unnoticed. For the most part it resulted into critics almost passed me by. I always valued professional advice to a large extent, understanding that the real criticism is deficit. It’s a pleasure to hear “Great! Let’s try to delete this and turn that” and absolutely nonchalance when I see answers like “garbage, colored photos”. On the other side I understand that when one looks through hundreds of images on the Internet every day it’s hard to request detail approach from him.
— What’s the best non-clich? advice you can give an artist trying to make it?
— It’s crucial to be overcome with what you are painting. It’s usual when the most thorough and well thought-out image doesn’t arouse any emotions because one just liked painting it but he/she didn’t feel any strain while that, they had nothing to say. We are alike in main features – two hands, two legs, head, mouth etc. That is why you need to dig deeper to express yourself, you have to try to convey inner experience. What we have inside can’t be the same in any other man, can’t be divided to clich?. If I have the right to give some advice that will be easy: deepen into yourself and express it in all honesty, love and without turning around looking at fashion or people.
— What can we expect to see from you in the future?
— I can say for sure one thing: now it is more work than ever. And I hope that considering it I’ll have possibility to find new decisions, styles, try other techniques. I hope that I’ll paint for Snob magazine, Lenta.ru portal. I want to try working with Western agencies. In general I don’t want to say something concrete not to bewitch. It’s always better to sum up then to make plans.
Designtimes
— How long have you been in the industry? Did you study art or has this been a passion which you have developed and worked on over time?
— All comes from childhood. There was no computer or the Internet in my childhood so I entertained myself with colorful albums of minor Dutch painters, impressionists and pre-raphaelites. I made up stories looking at these masterpieces, smelled coated paper, leafed over vellum between reproductions carefully. There was a feeling of magic. I wanted to study painting. However, all that I have now is more the result of work then purposeful studying. I have been doing serious illustrating for about 1,5-2 years. Before that I had a chance to work as a print production designer that is absolutely incomparable to illustration in terms of creative kick and self-expression.
— Your work is extremely distinct and eye catching, it provokes one to look stare at the image for a bit longer that you normally would. Could you tell us a bit about what you think has influenced your work?
— Now it’s difficult to single someone who influenced my art out. But there is one trait that many painters possess which always seamed to me important - talent to tell the whole story with one frame. Bruegel made it perfectly. Russian painters of the end of 19th century (Serov, Surikov, Makovskiy and others), whose works were made in realism genre, used complicated composition, plot and it’s development in spite of seeming simplicity of image. It’s also impossible to forget about such masters of detail as Beardsley, Klimt, Mucha. Now I’m greatly impressed by American illustrator Bernie Fuchs,
— Looking at your work the soviet and eastern block influences are very apparent. Do you find many other artists exploring the same themes around you?
— We do really depend on soviet past here in Russia. It has reflections in everything and first of all in level of civil society. Somehow I’d like to protect my works from this still sharp theme. Recently I illustrated text about Vladimir Lenin and understood that this theme touches me as a person born on Soviet Union but not like illustrator from modern Russia. In terms of profession it impedes to perceive material (i.e. text) adequately. As a whole, my older Russian colleagues often remember this “soviet” theme with nostalgic irony. Their works do not touch me.
— Have you been well recieved and recognised in your own country?
— For my profession and my age I am fairly demanded and I can’t complain about lack of attention. There are authors who are unpopular and known by few people in Russia but who really deserve recognition. They are left in bohemian Moscow life, not willing to invest their forces in self-promotion on the Internet. I have possibility to work all day long, be published and please readers of my blog with new works - that’s what really makes me happy.
— The recent famous portraits which you have completed what was the inspiration behind that?
— I’ve been selling T-shirts with my prints with great verve for the whole year and some time ago I thought that I often wish to put on a T-shirt with someone’s face on it. Someone whose portrait hasn’t become too popular among prints. That’s why there is no Che Guevara or Salvador Dali in my series. But there are plenty of famous people whom we know and love but have no chance to see in everyday life. Besides I assume that many of us needs reference points. So let them be Clint Eastwood instead of some sweet actor, Marlene Dietrich instead of regular society lioness.
— In particular the portrait of Clint Eastwood i find particulary interesting as he is a all american icon, capturing him in a soviet influenced illustration is very thought provoking.
This technique has really something typical for soviet style. Great artists like Uriy Annenkov and Kouzma Petrov-Vodkin worked in this style. Modern portraitists (including Boris Zhutovskiy) use this approach, too. Russian abstractionism and constructivism had impact on this way of painting in many ways . Now this style is not that popular, especially in portraitism, so that I considered return back to tradition of the first quater of 20th century to be good idea.
— What made you choose him for a portrait?
— I like Clint Eastwood a lot. Not taking into consideration his bright appearance and stupefying charisma, he managed to create image of the role which is impossible to fake. It’s impossible to imitate him. I do not say about him as wonderful stage director which today is not still tired and shots fascinating movies. Apart from that there is something from “Russian man” in his image - an able man of few words, with sole broken somewhere deep inside.
— What can we expect from Alexey Kurbatov in the future?
— It will be even more work in the future. Projects with design-studios, magazines, musicians, information portals and even with film festival. I always hope to illustrate good texts. But first of all I try to paint for myself besides business. My wife is asking to paint her portrait the second month. =)
São José Polo
— When have you started in arts? Tell us about your trajectory.
— All comes from childhood. There was no computer or the Internet in my childhood so I entertained myself with colorful albums of minor Dutch painters, impressionists and pre-raphaelites. I made up stories looking at these masterpieces, smelled coated paper, leafed over vellum between reproductions carefully. There was a feeling of magic. I wanted to study painting. However, all that I have now is more the result of work then purposeful studying. I have been doing serious illustrating for about 1,5-2 years. Before that I had a chance to work as a print production designer that is absolutely incomparable to illustration in terms of creative kick and self-expression.
— What best defines your style? What do you search as an art professional?
— I always wanted to reflect conflict, fill heroes with sharp characters to make some story behind them. Image shouldn’t be exact likeness of life, but filled with metaphors it should convey life very precisely. But of course everything should be done harmoniously and with great expression the way it happens in life rarely. In general, to put it simply, I try to derive something real from fantasy, from nothing. Regarding search inside of mastery, one decides for himself. I wish myself not to be closed up in themes, techniques and work approaches.
— In your opinion which are your main professional achievements?
—It’s difficult to answer such complementary question, not mentioning one more time how talented and magical I am. I’ll tell you: main achievement is that I assert myself more and more in my profession. It gives me opportunity to be absolutely frank and clear. Some time ago I executed orders where I had to imitate someone’s technique. In many Russian agencies it is still important to have skill of painting in all sorts of styles. Now I say: “Here is my portfolio. I paint this way and that way. If you want easel painting or anime style, go and find someone else.”
In addition, many creative people have such a quality - to be in constant search. But lately I understand that there is no abstract search. Life is full of impressions. Everything already exists, it’s all around and it’s waiting for your reaction.
— Which are your influences (other artists, art schools, etc)?
— Now it’s difficult to single someone who influenced my art out. But there is one trait that many painters possess which always seamed to me important - talent to tell the whole story with one frame. Bruegel made it perfectly. Russian painters of the 19th century (Serov, Surikov, Makovskiy and others), whose works were made in realism genre, used complicated composition, plot and it’s development in spite of seeming simplicity of image. It’s also impossible to forget about such masters of detail as Beardsley, Klimt, Mucha. Now I’m greatly impressed by American illustrator Bernie Fuchs,
— When have you started to be recognized in your country?
— Let’s put it like this: majority of people who order illustrations saw my artworks at least once. Whether they like them or not is another question. But what regards to compatriots as a whole, magazine illustration is not the most popular genre in Russia and there is no recognition here at all. If you stop first met pass-buyer in Moscow, he’ll scarcely remember magazine with really good design. It’s no use to talk about authors. At the same time I do not want to blame anyone. We didn’t have well-illustrated magazines for a long time here in Russia but we always had great diversity of newspapers. Newspapers are read by wide audience nowadays, too (this is informative and cheap), but illustrations there are awful. They are week, for one day, it’s impossible to save them in memory.
— What are your planes for your carreer?
— Career means aspiration to everyday prosperity. I can’t say that this is vital for me. Something that can be worth to be payed with freedom. If you want I believe in horizontal career - you can work, denying yourself nothing and having success, not trying to win renown. I began to perceive career as fuss and attempt to deceive fate. We can’t often stop and tell ourselves “Now is the best time, then there’ll be less time, tiredness, insomnia and breathlessness. By and large, people should give realistic appraisal of present. I am happy in my present. May be because I have healthy 8 hours of sleep, complete freedom and ability to allocate my time and energy as I like.
— Do you know Brazil? In negative case, what are your idea about our country?
— I can say as simple as that: Brasilia is football, fascinating carnivals and the best coffee. But your edition gives me opportunity to say how I love Brasil, i.e. Brazilian music. You have unique combination of different music cultures: African, Indian and Portuguese. Recently I discovered such musician as Arthur Verocai, playing with his musicians funk, soul, bossa nova and all these with distinctive Brazilian style. Just delight! I find some constant joy of life in your country, happiness from living itself. This is a trait that Russians lack, may be because of northern mentality. All in all, I hope that I’ll have a chance to visit Brasilia and enjoy life together with your people.
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