Artist Talk Magazine - issue 11
Milne Publishing is proud to present Artist Talk Magazine issue 11. Once again, I am pleased to showcase more incredible artists from around the globe. All of the artists featured within this issue have given interesting, in-depth and honest accounts about themselves, their work, views and ideas. In addition to the amazing images of the work they produce, which I know you the reader will enjoy and be inspired by. We have lots of incredible talent within this issue, with a wide range of subject matter for you to explore and enjoy. This issue’s cover is by Anna Mikheeva. Some of the work produced by Anna is done in black, succinctly minimalistic. Only at an angle are details showing the inner drama visible … The black answer, is capable of reflecting millions of colours and incredibly revealing in different angles of view, like that of life. Thanks for reading.
Milne Publishing is proud to present Artist Talk Magazine issue 11.
Once again, I am pleased to showcase more incredible artists from around the globe. All of the artists featured within this issue have given interesting, in-depth and honest accounts about themselves, their work, views and ideas. In addition to the amazing images of the work they produce, which I know you the reader will enjoy and be inspired by.
We have lots of incredible talent within this issue, with a wide range of subject matter for you to explore and enjoy. This issue’s cover is by Anna Mikheeva. Some of the work produced by Anna is done in black, succinctly minimalistic. Only at an angle are details showing the inner drama visible … The black answer, is capable of reflecting millions of colours and incredibly revealing in different angles of view, like that of life.
Thanks for reading.
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SANTORINI 2
Why do I value painting above all?
In my view, painting is the best way
to connect the hand, the heart and
the sky.
Painting is magic. It is a link with
heavenly powers. It was thus in the
Stone Age, and it is the same today.
In 2009 my wife and I flew to the
island of Santorini where we rented
a flat in Oia village. For some time I
had felt a pull towards that mystical
island. In front of the house with
cylindrical arches was a kidneyshaped
pool. Its terrace offered
views of a cubist village in the south
and a large empty field behind the
building, with gentle slopes towards
the north until the sea.
SANTORINI 3
The pool terrace became the focus
of our trip. We sunbathed, read,
my drawings and watercolours
were born there.
We took long walks from there,
and I made quick sketches. Ten
Santorini watercolours saw the
light of day by the pool. These,
in turn, developed into acrylic
paintings, and this is how I became
a painter. It was probably the
remarkable spirit of Atlantis that
evoke an artist in me. Colours,
composition and style just emerged
from somewhere. True, already 40
years ago I could do watercolours,
and also dabbled in installations as
a supplement of the architect’s job.
On Santorini I clearly felt that
some sort of hidden information
inside me was trying to find an
output. And it burst out in painting,
on that magical island.
I have developed the style
established on Santorini in motifs
of Tallinn’s old town, Manhattan,
Morocco, Andalusia, Sicily and
Malta, although Santorini will
always be the foundation where
I keep returning in my search for
new motifs.
SANTORINI 4
I painted the ensembles I saw
to suit myself. It means that an
architect has his own dreams, and
he is lucky to realise 10 per cent at
best.
When I paint historical buildings, I
imagine I am an ancient architect
who once built them. I never
paint exactly what I see. Instead, I
provide the generalised structures
with their own style by means of
colours, new windows and doors,
and something else. Painting can
therefore also be a project, more
precisely an ideal project.
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