This painting was an experiment with an extremely limited palette of just two colours: Burnt Sienna and Viridian. I wanted to explore how much variety I could achieve through shifts in value and temperature, contrasting the warmth of her hair and skin with the cool green of her dress.
I drew on methods used by Rembrandt to create a low-key portrait with a dark, contemplative atmosphere. Dim light catches the scholar’s face and open book, with much of his figure merging into the surrounding shadows.
This is a portrait of my best friend, Axinya. I wanted to create a dramatic contrast between her dark dress and fair skin, using large, simplified shapes for a bold, expressive effect.
In this painting, I wanted to capture the sense of anticipation before a storm. Sheets billow in the wind behind the girl as she stops to look at us.
In this portrait study, I wanted to explore the methods of the Boston School of painting. I used subtle shifts in colour and value to describe the light on the skin of the model.
This is the first formal self-portrait I’ve painted of myself. As artists, we can use ourselves as free models, available anytime!
With this painting, I wanted to express the desire to feel closer to nature. She becomes one with the tree and part of the forest herself—one of its spirits.
In this painting, I wanted to create a sense of mystery around the figure and her surroundings. Is she the lady of the manor, a ghost, or someone who has simply lost her way? I used muted greens and blues, a narrow value range and soft edges to give the scene a tranquil, slightly haunted atmosphere.
This painting is inspired by the Russian fairy tale of Vasilisa the Beautiful. I chose the moment when Vasilisa leaves the hut of Baba Yaga with the glowing skull to guide her through the woods. The contrast between the warm glow of the skull and the cool colours of the surrounding forest contributes to the eerie atmosphere of the piece.
