Central to my paintings is the integration of hard forms with soft. The soft forms emerge as sensual colour rhythms, disappear and sometimes re-appear, leaving the trail of an image you may recognise yet cannot place entirely. What matters most is that hard forms, whether they interrupt, block off, pierce or stand apart from the soft elements, form the coherence of the whole. I aim to evoke a mood unique to each picture, this by suggestion: elements might put you in mind of anything from machinery to a cage or rustic gate but these are never represented literally or defined as such. My approach is inclusive as opposed to minimalistic. Even where I aim at the feel of spontaneity, precise placement of every detail is essential to my art.
I am concerned with the painterly effects of colour and with formal integrity, striving to hold together in convincing co-ordination a closely worked nexus of visual motifs. I invite you to follow an 'argument' of line and colour to understand an overall harmony that avoids facile pattern making and cheaply achieved effects from extreme tonal and colour contrast. My ideal collector is one who (apart from wanting art that looks superb on a wall!) seeks to find more and more in a painting as time goes by.
From an early age in Moscow I attended art classes where I learnt the traditional disciplines such as drawing from the skull and frieze, composition and still life. Following a foundation course in textile design in Moscow, I was involved in the creation of unique Gobelin tapestries for museums, theatres and embassies. In London I took a course in painting at St Martins and later took print making courses in St Ives. I did not take a full time degree course in Britain because I felt that I had already learnt skills that were barely taught, if at all, in British art schools whereas much of what they did teach in the sphere of painting could be picked up by active inquiry and gallery going. I have absorbed influences varying from the old masters to art of the past twenty-five years to create a personal style - rather than become another artist's follower. Although aptitude for mathematics, especially geometry, helps me in holding together complex fluid arguments in paint with geometric elements, it is the feeling at the heart of a painting that matters to me most.