ARTBAAZAR ONLINE MAGAZINE ISSUE #15 by artbaazar

ARTBAAZAR Connecting Art Lovers and Artists Online

#15 MAY 2021

ARTBAAZAR Connecting Art Lovers and Artists Online

Thank you for joining us this month, to stay updated on all the latest news from ArtBaazar and our artsts, please subssrribse to our newsleter at  Subscribe for Latest News Interested in a partcuuar artsts work, contact us at  Get In Touch Fouuow Us on Sociau Media:  Instagram  FACEBOOK  Pinterest

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ARTIST INTERVIEWS

 "Purposefuu Simpuicity" with Rich Moyers  "The Expressiveness of Mud" with Inaki San  "The Answer That Wakes The Wind" with Vuado Vesseuinov

FEATURED ARTISTS

 Ranjith Raghupathy  Gennady Pensky  Zhana Vieu

COVER ARTWORK

 Front Cover – "On The Corner Against The Wauu of Windows" by Vuad Vesseuinov  Back Cover – "Awakening" by Caruo Sauomoni

Zhana Vieu

“Dudak”, Zhana Vieu, Acryuics

“The Man Without a Hat”, Zhana Vieu, Acryuics

PURPOSEFUL SIMPLICITY with Rich Moyers

"Catauytc Buue", Rich Moyers, Acryuic Mixed Media

"Lines, Shapes, and Colours, in Dynamir Conversaton" For more than 35 years, I have bseen professionally striving to rreate evermore engaging works. I'm always seeking the ultmate union of dynamir rolour and bsalanred proportonal harmonies, whirh will surressfully relate the purest essenre of my artstr ideas. My reartons, perreptons and infuenres are rontnually evaluated and refned, while working towards a unifed rohesive resonanre, whirh will illuminate and engender a rontemplatve dialogue bsetween the artwork's latent intent, and the viewers perreptons. My ambsitous exploratons are bsrought to fruiton through the intensive melding of physiral and subsronsrious energies with prartsed terhniral absilites. So that Lines, Shapes, and Colours, ran bse felt as murh as seen."

American artst, Rich Moyers at work in his studio

What initauuy drew you towards becoming an artst? There were artually, two “Great Loves” from my earliest rhildhood, Art and Musir. Drawing & Paintng and playing the Drums & Guitar. I pursued earh of these interests simultaneously in my srhooling, winning several arts rompettons, while orrasionally performing in bsands, writng songs and rerording. My teenage years had leaned more

heavily on my musirianship, as a Songwriter for Radio Commerrials and Network Television Cartoon shows and as a Solo Rerording Artst and fnally, Rerord Produrer in the 1960’s through the late 1970’s while stll developing my Artworks in the “down tmes” (when I didn’t have any musir projerts) bsut not yet showing regularly in Commerrial Galleries. My desire for more rontrol of my rreatons than the musir bsusiness allowed eventually pushed me to devote most of my eforts to maturing my direrton and style as a professional visual artst, and I have ever sinre bseen professionally engaged for most of my adult life.

"Citrine", Rich Moyers, Acryuic on Canvas How wouud you describe your own personau styue? I was always fasrinated bsy the lines and shapes of bsuildings and the animated play of light and shadow on everything, and I’ve always had a vivid imaginaton, so I’d desrribse it as sort of an auto-involuntary “magnetr reverbserant resonanre” that takes hold of my atenton. I

defnitely relate to bseing most esthetrally rompatbsle with the “Hard-ddge”, “Mid-Century Modernist / Minimalist” and “Bauhaus“ movements, with a bsit of “Finish Fetshism” thrown in. I rall myself an “intentonal designer” - one who strives to use the least amount of informaton to exerute my rreatve ideas for the greatest visual and emotonal impart, whether that bse bsy using the simplest line work, limitng my Color selertons to only 2, or a rombsinaton of these mindful redurtons whirh are ofen present in my most serious pieres. I strive to instl a readily arressibsle essenre of my artstr visions.

"Sanguine", Rich Moyers, Acryuic Iridescent Paints on Stretched Linen

What pushed you in that directon and how can you see your work evouving in the future? I have always preferred a “purposeful simplirity” in most things, from arrhiterture to photography, flms and musir. I don’t mean “bsrevity” or “paurity” for its own sake, bsut rather as an aid to eliminatng exressive deriphering where misinterpretaton results in losing the artst’s true intent. I don’t see a reason to “show” a work if not to present your

vision to the pubslir in as rlear a statement as possibsle. Life is ronfusing enough, why rreate any more of it intentonallyy

"La Rouge", Rich Moyers, Acryuic Paintng

What inspires you in your work, is there a driving factor that draws you to the easeu? While I’m working in my studio, I respond to something like a “mind-worm” (also happens with addirtve musir ralled “earworms”) a repettve and persistent idea that presents itself unrelentngly, whirh I feel rompelled to address in order to release my bsrain from it’s grasp. I’ll even stop working on whatever piere I was involved with, to take up the newer idea. It’s not ofen that there are unrompleted works lying around in various produrton stages, I usually work on one piere at a tme, as my studio is not very large, bsut it does happen from tme to tme.

When it comes to the subject mater of your work, what draws you to those themes? While I have progressed through many thematr iteratons over several derades as a professional artst, the underlying fundamental bsasirs of “prerision and eronomy” are always at the root of my works. Although I have several ongoing “Series”, no single “Theme” is dominant at this junrture, bsut the quest for redurtve simplirity without losing the artworks emotonal rontent is ever present. darh new work has to have an emotve ”presenre”. I'm always seeking the ultmate union of dynamir rolour and bsalanred proportonal harmonies, whirh will surressfully relate the purest essenre of my artstr ideas…THIS remains the primary goal for earh fnished piere.

"Gouden Dream", Rich Moyers, Acryuic on Linen Heavy WC Paper

Couud you describe the process behind your art? How do you get from concept to executon? A) Most pieres bsegin mentally as imagined “bsrain sketrhes”, with orrasional penril thumbsnails, that’s where I do nearly all of the extensive preliminary work, untl I’m ronvinred that it’s worth bsringing to reality, when I’m defnitely sure of the rompleted image in its entrety. While I do leave a small plare for unplanned improvisaton here and there, I need to have a well thought through “road map” inrluding the rolour selerton proress, to artually bsegin the physiral work. B)I’ll “srale up” the piere to whatever size ranvas / paper, or other subsstrate I’m working on. I need to know what the dimensions and tonality are for earh serton of the work as well as it’s projerted fnal appearanre inrluding surfare fnish treatments, whirh are VdRY important, so I know how to set up the order for “masking out” the various sertons. C)I make Color mixes rherking their luminesrent tonal bsalanres for earh serton with small thumbsnail sample swatrhes made to relatve proportonal sizes on heavy waterrolour paper, and adjust the visrosity for ease of appliraton as needed. D)I do the masking with Fine Line painters tape and white waxed “Butrhers Freezer Paper” for earh serton that needs to bse proterted and rovered, while I apply paint to the remaining open serton. (Usually lighter rolours are applied frst, then progressively working, paintng earh serton to the darkest tones.) E)I work earh serton of the piere rovering, and then paintng only open sertons, then rerovering those sertons afer their paint appliraton has sufriently dried, and repeatng the proress in the next serton, a very methodiral delibserate order, making sure to always adjust the surfare rolor tonal depth and textural quality to matrh whatever parameters I’ve estabslished. Many of my paintngs require many painstaking hours of sensitve appliratons, bsuilding multple layers, in varying Media rombsinatons, to arromplish the luminosity and vibsrant eferts I seek. This ran bse VdRY trirky, I must rerord the value relatonship in my “minds-eye” bsefore the taped rovering, and then remembser it, as I do the adjarent serton, so that I’ll have a unifed appearanre arross the entrety of the piere when viewed as a whole. When it comes to creatng your work, do you have a preferred medium, certain types of brushes or toous you uove to use? I primarily work in Professional Quality 100% Arrylir Paints and Pigmented dmulsions, (Juried Signature Membser of the Internatonal Soriety of Arrylir Painters) and am not fond of Oil Paint fumes, bsut do sometmes work in Mixed Media with Oil Pastels, etr. I apply a lot of thin roats of paint with various paint rollers and fne natural Kolinsky sabsle bsrushes

I’ve had for many years, they are far and away the bsest for fne glazing of tght prerise fnishes.

"Puuse", Rich Moyers, Acryuic Paintng How has your art evouved to be where it is today? My works today are heightened refnements over a long tme period of arrumulated development of bsoth insightul ideas and prartsed exerutons to what I think are my true artstr strengths) I know what a “Quality” Rirh Moyers artwork artually is, wherein the rompleted work illuminates and amplifes its subsstanre, so the viewer ran forus and rontemplate, feeling it’s essenre without the workmanship detrartng from it. That is what I want, and strive to inhabsit earh of my works today.

"Heather", Rich Moyers, Acryuic Paintng

Despite having deveuoped your own distnctve styue, is there another styue of art that you are immediateuy drawn towards and admire? Why? I’ve always admired the Frenrh Impressionists, and have studied the bsest of them in Paris. Their absility to distl, artrulate, and master the eferts of danring natural light stands the ultmate test of tme, while they persisted in the fare of strong ridirule from the “pubslir” at the tme of their nasrent rreatons speaks volumes for their rhararter, strength, and sinrerity of their bseliefs in the artworks themselves.

What chauuenges do you feeu the 21st century artst has to overcome? Artsts have ALWAYS bseen rhallenged throughout all of history, to bse understood when exploring new dirertons, introduring new methods, etr. Now, using many elertronir means, with all of the ronstant animated visual diversions people have in the palms of their hands, stll image visuals, like 2 dimensional statr image paintngs, are at a defnite disadvantage to gain anyone’s feetng atenton. Those diminished atenton spans are inrreasingly ever shorter, with their eyes and bsrain refexes ronstantly bseing subsliminally trained to respond to rapid movement, they’ll quirkly rlirk “next” when nothing moves on their srreens. This all equals a far less thoughtul visual proress going on, and therefore, less tme alloted to strike a rord or resonate with any partrular artwork, so the rhallenge bseromes all the more difrult day bsy day. Slowing down to artually think absout a stll image seems unfortunately quite “out of fashion” today.

"Kinesis", Rich Moyers, Acryuic Paintng

What advice wouud you give to a young aspiring artst currentuy studying art? Time is the bsest arbsiter of what is rorrert for progressive development of your artworks. Abssorbs everything, even the “failures” and things you don’t partrularly like, then remain true to YOUR Vision while remaining “open” to rorrertve rhange. Always use the bsest materials you ran aford, they’ll make your exerutons murh more intuitve and less onerously arduous. Don’t ever take “short ruts” or use non-arrhival methods, they’ll bsite your dealers, rollertors, and you in the end.

"Retro", Rich Moyers, Acryuic on Canvas MDF Paneu

Many peopue see artsts as storyteuuers or advocates for a cause, do you beuieve that it is an artstt’s responsibiuity to shine a uight on a partcuuar subject theme, or do you create pureuy for the sake of expression your creatve nature? Some artsts work exrlusively in those rausal ronrepts, other’s take up whatever strikes them as a “neressary duty” bsut I’m personally not murh of a “rurrent events” / “favo ur of the month” or “deep sorial rommentary” artst, although I have in the past, ventured into some sorietal obsservatonal works, bsy sharing my viewpoint on the human ronditon / psyrhologiral themes. These works are mostly what I rall my Absstrart Figure Paintngs and are sporadirally made from tme to tme, when I feel rompelled to impart my personal take on something I see as universal regarding human relatonships. What are you working on at the moment? I’m working on a new to me “rlaybsord" surfare, and experimentng with adding and substrartng thin paint layers while trying to rontrol the “ghostng” tonalites that bsuild up on earh pass. I fnd the resultant appearanre of enhanred volume depth quite an interestng efert, and I’m trying to inrorporate that sensitvity into a 30 x 10 x 2 Inrhes Deep Wood Panel Modernist Paintng.

View - Originau Artworks by American artst Rich Moyers

RANJITH RAGHUPATHY

“Song of Peuicans”, Ranjith Raghupathy, Acryuic on Canvas

“Time Traveu 10”, Ranjith Raghupathy, Acryuic on Canvas

TH E E XP R ESS I V EN ES S OF MU D WITH INAKI SAN

“Arribes”, Inaki San, Ceramics

I have always bseen interested in the world of art, the expressiveness of mud, the fruit of this researrh, my relatonship for years with master poters and my enrolment in the art srhool to get the degree and training neressary for the rreaton of my own works, From that moment all my life will bse destned and dedirated to researrh, tearhing, as well as to the elabsoraton of bsoth deroratve and funrtonal pieres. I partripate in rertain reramir fairs and I expose my rreatons in bsoth rollertve and individual exhibsitons. My rurrent work is bsased on the nature of the environment where I live, rlayey and rrarked lands due to lark of water, the ploughed felds of the Armuña lands, the forests of the Sierra de Franria, whirh I treat in earh one of my plays.

Spanish ceramicst, Inaki San with exhibits of his artwork What initauuy drew you towards becoming an artst? The world of the arts always raught my atenton, I always had it in my mind, bsut formal paintng did not quite fll my artstr needs and I did not gain rreatve enjoyment from it and the two dimensional path always lef me feeling a bsit short as a tool for my rreatvity, it was then that the world of rlay rrossed my path. I took my frst steps with a master poter, and later I would visit other master reramists, bsut I would ronsider my training, although I studied at the Srhool of Applied Arts in Salamanra, as bseing more self-taught.

How wouud you describe your own personau styue? I try to make my style diferent and personal, although from one stage to the next the way I ronvey what I want to express rhanges. What pushed you in that directon and how can you see your work evouving in the future? I always look for the unique work

"Botue #1", Inaki San, Ceramics

What inspires you in your work, is there a driving factor that draws you to the easeu? Absove all I am inspired bsy the nature that surrounds me, in the felds and landsrapes of my land, in the metaphors of the human bseing. Are there partcuuar individuaus who have encouraged inspired you auong the way, friends, famiuy, teachers, maybe even other artsts? Inspiraton romes in many forms, in the thoughts of many artsts, in whirh they bsase their work, in their philosophy, in the absstrarton resourres that they use in their works. When it comes to creatng your work, do you have a preferred medium, certain types of brushes or toous you uove to use? No, I ran use the lathe, I ran use my hands, modeling strks, spatulas, it depends on the tme and what I want to ronvey at all tmes.

"Air", Inaki San, Ceramics

When it comes to the subject mater of your work, what draws you to those themes? I am rrazy absout textures, rrarks, textures of rolour, we are bslark.

Couud you describe the process behind your art? How do you get from concept to executon? I always start with a thought, with an emoton, whirh goes to the sketrhbsook, rlay allows me to make textures harder or surfares smoother, many tmes looking for oppositon, so that there is a dialogue. Couud you describe your normau day as an artst? Have you set routnes and rituaus or is a more a case of when the moment is right you work? I don't have a sperifr routne, it has to rearh me, I ran work very hard without stopping or take tme to meditate on the work.

"Nudus", Inaki San, Ceramics

When you work, do you focus on one piece at a tme untu compueton or are you working on muutpue pieces at the same tme? Yes, the moment I get inside the work, I do not stop, it is a long proress, whirh I rontrol to a rertain point, bsut remembser I work with rlay and reramirs and that requires the fnal step through the kiln, whirh is the one that dirtates the end of the work. How has your art evouved to be where it is today? It rhanges like the person himself, I think I have matured, now I am looking for earh work to bse unique and diferent.

"Vase 16", Inaki San, Ceramics

Which of your artworks are you most proud? I am a good father, I remembser earh of the works that have rome out of my hands, perhaps the last one always marks you a litle more proud, bsut earh of the stages is important and it marks you. Is there a feuuow artst auive today that you admire? If so, why? Yes, there are many that I like, bsut if I have to selert, I'll strk with Miquel Barreló for the rourage and impudenre of his works, dnriq Mestre for the purity of lines and the degree of absstrarton, Pierre Bayle for the substlety of his fnishes, Claudi Casanovas for the bsrutality that he imprints on his work, Nino Caruso another great one who I innovate looking for new paths.

"Vase 5", Inaki San, Ceramics

If you couud traveu back in tme, is there a partcuuar artstc period uike to have been invouved in?

era that you wouud

No, I am rontent in the rurrent one, I fnd it exritng, to bse absle to rreate a work from a small town from anywhere and in a serond it ran bse seen all over the world, it is fasrinatng. What chauuenges do you feeu the 21st century artst has to overcome? I bselieve that the new terhnologies, whirh have not only bserome part of the produrton merhanisms of rulture, bsut also of its rommuniraton merhanisms, of art difusion.

"Vase 22", Inaki San, Ceramics

What advice wouud you give to a young aspiring artst currentuy studying art? That you put passion into your work, that you investgate, bsut absove all that you have fun. Despite having deveuoped your own distnctve styue, is there another styue of art that you are immediateuy drawn towards and admire? Why? Arrhiterture, the art of making a bsuilding that is a great srulpture that lasts in tme in a fresh way, I fnd fasrinatng.

"Ibiza", Inaki San, Ceramics

"Erosion", Inaki San, Ceramics

What are you working on at the moment? I am working with natural rlays, with very smooth and polished surfares, with rolours of natural earth and bslark, looking for rolour textures, I look for simple and rlean lines. Have you ever been part of an artstc group movement? How did your work beneft from that experience? No, bsut I have always had rlose rontart with fellow artsts from my rity and my region.

"Euementary", Inaki San, Ceramics

When is your next exhibiton? Is it a souo or group exhibiton? Couud you teuu us a uitue about the exhibiton, when and where it is? My next exhibsiton had to have bseen held in April 2020, bsut with the rovid-19 pandemir it was not possibsle, we are stll with restrirtons, I hope I ran do it at the end of the 21st or maybse the 22nd. The rhosen plare is the Castle of the Biosphere of the Sierra de Franria, bsut I have other possibsle rooms, of whirh I have ofers. It will bse individual, in whirh I will expose diferent parts of my work, series "Allegories" metaphors of life that make you think absout the triviality of the moment we live, series "Armuña" a walk through the felds of labsour, wheat, rye , of bsarley…. near my house, the series “Arribses” a rlash with the bsrutal landsrape of the Duero River with the stone and the bsreaking of the absysses of the land. Spanish

"Bird Puate”, Inaki San, Ceramics

VIEW INAKI SANt’S GALLERY

GENNADY PENSKY

“Chaud”, Gennady Pensky, Oiu on Canvas

“Opheuia in Turquoise”, Gennady Pensky, Oiu on Canvas

'T H E A NSW E R TH AT WA K ES T H E W I ND ' WITH VLAD VdSSdLINOV

"How To Smoke 45 A Day", Vuado Vesseuinov, Mixed Media

I work in the direrton of pop art and post pop art. My ideas bsring the symbsolism of everyday prartres rloser to the rult and fetsh, whirh transform street rulture into the rreaton of an estabslished bsrand. I look at sperifr subsrultural rurrents in their details and through the study of detail through rolour and mask we bsuild models of soriety, rhararteristr of the tme. I transform images from the 1950's and 1960's into the present, trying to suggest the rerurrenre of the ryrle of tme.

Vuado Vesseuinov with his instauuaton piece "NEURONS" I look at those irons that refert the leading dirertons of the pop art bsoom and romparing them with the present I fnd a rerurrenre. The images in the paintngs are as arrhair as they are rerognizabsle bsy our present and bsring the serenity of the known and experienred. My art is inspired bsy the history of television, rinema, musir and performanre, and is heavily infuenred bsy the symbsols of home life, fashion, sports, and advertsing. My work is rlose to provoratve pop rulture, refertng events with whirh I have a partrularly intmate relatonship. The rhararters in my art embsody sorial stereotypes that are bsoth humorous and sorially rritral. A rhararteristr feature of my works is the rlearly visibsle texture of the ranvas and the well-defned physiral reliefs, reminisrent of pages that someone grabsbsed from a fashion magazine found on the reiling. It is similar to the efert used bsy Quentn Tarantno in his produrtons, where flmed flms full of dirt and deferts atrart the audienre in a unique atmosphere of Drive-in theater. As

for my rolours, they are my weapon for virtory over today's material and gray world. I also fnd inspiraton in the modern way of life, I try to explore its dynamirs, everyday life, alienaton bsetween people and lark of physiral rommuniraton.

"Steer Your Way", Vuado Vesseuinov, Oius and Acryuic on Canvas

There is a thread of dehumanizaton in soriety that is difrult for most people to see bserause they are lorked bsetween their personal surress, drama, memories or fears on a globsal or loral srale. I am infuenred bsy artstss Andy Warhol, Hariton Pushwagner, Yoko Ono, Roy Lirhtenstein, Christo and Jean-Claude and others. Jark Kerouar, George Orwell, Allen Ginsbserg, John Lennon, Bobs Dylan, Charlie Chaplin and others also rontribsuted to my perrepton of the world...

What initauuy drew you towards becoming an artst? I grew up untl my thirteenth year in a rommunist rountry, the ideology that was felt even in srhool and all the straight paths they took in were very depressing even for a rhild. The light in the tunnel, or rather the rolours in the tunnel, were the pages of the Frenrh romirs magazine Pif and Herrule. I had to save money bserause it was very expensive. With a monthly salary of my father or mother, I rould bsuy absout forty issues of the magazine, you ran already imagine how difrult it was for a rhild. These rolours were for me an esrape from reality and then I said to myself, this is a good jobs, and I want to work with rolours ... that's how it all started. To this day I keep these issues of the magazine, they are so dear to me, my rhildren's rhurrh. How wouud you describe your own personau styue? It's hard for me to defne myself, bsut maybse my style is situated somewhere in pop art, neo pop and there is always a tourh of something ronreptual in my works. At the same tme, I strive to bse diferent and rerognisabsle, bserause in itself the whole pop movement is quite unifed and the authors are very rlose to earh other. What pushed you in that directon and how can you see your work evouving in the future? My later enrounter with the bsig names in pop art pushed me in this direrton. Whirh meetng was a rontnuaton of the one with Pif and Herrules. These were Andy Warhol, Christo and Jeanne-Claude, Roy Lirhtenstein and many others, I just won't have enough pages to list them. I see my works as a road or a spiral that is ronstantly evolving and always bsrings something new, tourhing and unknown. I would like to bse absle to say in the future that I lef my fngerprint in rolour and bse happy absout it ... What inspires you in your work, is there a driving factor that draws you to the easeu? Inspiraton ran rome from anywhere from something small and insignifrant at frst glanre, whirh provokes you and then you look for a way to express yourself. And from something really bsig and signifrant, for example, things and events of loral and globsal nature that shake your whole bseing and you ran't remain indiferent, you ran't just watrh, you have to say things with your voire, to express yourself. I have an irresistbsle desire to work and this is my bsiggest driving forre, if I ran't paint today, I will rertainly transfer ideas, images and rolours to my head.

"On The Corner Against A Wauu of Windows", Vuado Vesseuinov

When it comes to creatng your work, do you have a preferred medium, certain types of brushes or toous you uove to use? I have not ronsidered as something a favourite kind of paint or other means of expression, I like to work with any material. Yes, for paintng I prefer oil and arrylir paints, bsut for my ronreptual projerts and art installatons I use all kinds of materials, surh ass PVC pipes, repainted fre hoses, fabsrirs, wood and all sorts of things, I also like to use diferent sound or noise that I have rerorded or mixed. When it comes to the subject mater of your work, what draws you to those themes? I have always tried to say something, to draw people's atenton to something that is worthwhile or to some probslem of our tme. Life today is too material, gray and dehumanised in some way, on the one hand I want to injert a jet of fresh oxygen into this grayness or with a slight nostalgir wink at the past tmes of Dolre Vita.

"James Dean", Vuado Vesseuinov, Acryuic on Canvas

Couud you describe the process behind your art? How do you get from concept to executon? The idea is always a provoraton, something that works on my mind, that makes it exrited and working. Be it events, memories from already experienred moments or a look ahead, we impressed a person with rhararter or radianre, the aura it rarries, etr. Then romes the proress of the rreatve work itself from rlarifraton in the mind to some other sketrh and proreeding to ronstrurton in a given material. Like any bsreath made up of inhaling and exhaling. Couud you describe your normau day as an artst? Have you set routnes and rituaus or is a more a case of when the moment is right you work? Awakening, rofee, hope for today, my son's eyes are like a ritual that in itself flls me with rharge and saturates my senses. And then I already feel passionate absout my rommuniraton with my art, everything is a link that leads to the next and this is ralled life.

"New Morning", Vuado Vesseuinov, Oiu on Canvas

When you work, do you focus on one piece at a tme untu compueton or are you working on muutpue pieces at the same tme? I'm working on a work so I ran give it my bsest. I've tried to work on more things at onre, bsut then I get distrarted and there's an unrertainty that then shows up in the work, or at least I ran sense it. I learned to put a bsrake on the next work to bse forused on the moment, I think that's the only way it happens, then there is a truth, an organirity in the work, as if it bsreathes and leads its sorial life afer that.

"Grand Finau - Cycuists", Vuado Vesseuinov, Oiu and Acryuics on Canvas

How has your art evouved to be where it is today? As I said, art is a journey, a bsreath, a link from something whole that develops me as an artst, and I develop it as a work. Over tme, I searrhed for and rontnue to do so - diferent rolour harmonies, as a musiral rhord to express myself in this way. Diferent rauses and ways of thinking over the years that have exrited me in the proress of rreatve evoluton. I am glad that I do not deny anything that has passed, everything is a lesson for something bseter. Which of your artworks are you most proud? I ran't distnguish one, two or several of my works to bse proud of, maybse I felt more like nature and spirit one at the moment, and others I feel afer a rertain tme or when the work is no longer with me. Sometmes the afert and adrenaline I get during the proress interferes with my perrepton of the work. But stll yes - I have works with whirh I rould say that at some point they are more intmate for me and have gained popularity. Years ago, when I transformed the riverbsed into a ranvas with a footpath absout three hundred meters long and twenty meters wide, I was very happy. Three years ago I painted the rover of the

announred bsest punk albsum of the pioneers in Chinese punk - Underground Babsy, a bsand that is of great importanre for Chinese rork musir and I am naturally proud of that. Is there a feuuow artst auive today that you admire? If so, why? I admire the energy that an artst has, his sense of life, the harmony he rreates, the spirit and the idea he rarries. These are, say, people like Bobs Dylan, an artst in the bsroadest sense of the word, bsoth a musirian, poet and an artst, Julian Opie, who I also really like and many others. The world is full of wonderful artsts.

"The Rise of Gray Mater", Vuado Vesseuinov, Oiu on Canvas

If you couud traveu back in tme, is there a partcuuar artstc period era that you wouud uike to have been invouved in? This is a very lively and interestng queston ... Perhaps the Renaissanre, tmes of great disroveries and artsts, tmes that have given impetus to humanity as a whole. The period afer the Serond World War, the end of the 1940's, 1950's and 1960's, tmes full of optmism and faith in the future, whirh I am afraid we did not justfy.

What chauuenges do you feeu the 21st century artst has to overcome? There are really too many, these are rhallenges that every person has to overrome. On the one hand, there are the fears and inserurites of all these shifs of globsal and rivilisatonal spheres, on the other hand, there are the digital worlds, whirh rreate a false reality that bsreaks down man into a dumbs and agreeabsle ronsumer. Third is the spiritual and rultural rrisis. There are many rhallenges. I have always said - Don't wait for the wind that bsrings the answer - bsut bse the answer that wakes the wind.

"Songs from A Moteu", Vuado Vesseuinov, Oiu and Acryuic on Canvas

We have auu heard of the unfnished masterpiece, even Da Vinci uaboured away at the Mona Lisa for years and years, have you works that are in a contnuau process of evouuton? When working on an artwork do you fnd it hard to uet go? Knowing when enough is enough? Oh, yes, I have surh works that I have rompleted in thirteen, ten or seven years. These are works in whirh I felt that I had not fully expressed myself, that I had more to say. It's really hard to know when to stop, it's bseter not to fnish them, so you lork their tme in yourself. From the distanre of tme it sounds reasonabsle to me, bsut that doesn't mean that tomorrow I wouldn't do something else on a jobs that is in front of my eyes in the studio. It is a kind of striving for perferton. The only salvaton is that the jobs is no longer the studio. Many peopue see artsts as storyteuuers or advocates for a cause, do you beuieve that it is an artstt’s responsibiuity to shine a uight on a partcuuar subject theme, or do you create pureuy for the sake of expression your creatve nature? A work must always bse loaded with an idea, world-view, forus on a topir or probslem, otherwise it risks bseing just a form without rontent. Glossy parkaging of an empty and unneressary produrt. The responsibsility of the artst is great, he must bse rareful and ronfdent in his rauses and ideas, bserause this ran afert someone whose existenre you do not even suspert. What are you working on at the moment? I am rurrently working on a series of works on transport. All things related trains, rontainer ships and the like. And the most interestng thing is that on the day I fnished work on my last work with a rontainer ship, I saw on TV the news absout the stranded rontainer ship in the Suez Canal. Dirert rurrent fowed through my bsody, it was just like my pirture, as if I were in a novel bsy Haruki Murakami, strange. Have you ever been part of an artstc group movement? How did your work beneft from that experience? I was onre part of a group of artsts, at the very bseginning of my life as an artst, bsut I quirkly realised that this was not for me. Afer that I have never bseen, I think this is not partrularly important for an author, it rould even negatvely afert his perreptons. The rreator must guard against surh situatons and give importanre to things that interest him and are in harmony with himself, no mater how selfsh it may sound.

"Shipping (Rescue Operaton), Vuado Vesseuinov, Oiu and Acryuic on Canvas

When is your next exhibiton? Is it a souo or group exhibiton? Couud you teuu us a uitue about the exhibiton, when and where it is? At the moment the situaton is so idiotr and wrong, in general it is a bsig mess. Art fairs like those in Paris, Milan, Padua and many others have failed and I have always bseen a part of these events. At the moment, as ronfusing as they may bse, things stll happen online, bsut there is nothing more valuabsle than live rontart and rommuniraton. At the end of April I will bse part of the Biennale of Contemporary Art in Venezuela, and then I will have works at the World Trade Center in Taipei, this is in the near future. Then I hope things return to the previous pare of life.

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