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<strong>musetouch</strong><br />
Visual Arts Magazine<br />
HAPPY BIRTHDAY MUSETOUCH<br />
ISSUE <strong>24</strong> SEPTEMBER 2012<br />
Natalie Shau Mike Worrall Alyssa Monks Steve Richard Hans Jochem<br />
Olga Larionova Brad Kunkle Sergey Ivanov Dorian Vallejo Mandy Rosen<br />
<strong>musetouch</strong>.org
Dear readers,<br />
It makes me happy to celebrate the second birthday of the Musetouch Visual Arts Magazine<br />
together with you. I thank you one more time for your eternal kindness and support.<br />
Without you, this would not exist.<br />
I also invite you to help us gather the founds for the existensa of the magazine, for<br />
organizing the team who will help me with creating the magazine and especially answering<br />
to your emails...it is making me devastated and deeply sad cause it is impossible<br />
for me to do everything by myself. By donating for Musetoch you will also help us<br />
build the web site that will make possible for all of you to present your creations and<br />
to sell it without any provision taken by Musetouch. By donating only $5 you will make<br />
it happen for this beautiful magazine to stay alive.<br />
Special thanks goes to my dear friends Steven Diamant, president of Arcadia Gallery,<br />
NYC, Lucian Dixon, Dragan Lopusina and Ian Furniss who helped me by donating for<br />
Musetouch, to Ljiljana Bursac, Nini Baseema, Kiyo Murakami, Jelena Grujic, Natalie<br />
Shau, Bolek Budzyn, Thierry Bruet, Dejan Bogojevic, Gines Serran, Mark Sadan and<br />
to all of you.<br />
Maia Sylba
MAKE IT HAPPEN FOR MUSETOUCH<br />
www.indiegogo.com/<strong>musetouch</strong>
MUSETOUCH MAGAZINE September 2012<br />
Editor<br />
Maia Sylba<br />
Graphic designer<br />
Dejan Silbaski<br />
Contributors<br />
Nini Baseema<br />
Kiyo Murakami<br />
Ian Furniss<br />
Cover<br />
Sylwia Makris<br />
Designer of the hat : Katarzyna Konieczka<br />
MUSETOUCH is a magazine about visual arts. It has been created by Maia Sylba out of a love and passion for<br />
art with the hope that people will be able to use the publication and website as a platform to showcase their<br />
skills and gain recognition.<br />
Facebook<br />
facebook.com/<strong>musetouch</strong>visualartsmagazine<br />
Twitter<br />
Linkedin<br />
Mail<br />
twitter.com/<strong>musetouch</strong>mag<br />
linkedin.com/in/maiasylba<br />
maiasylba@gmail.com<br />
Submission Guideline<br />
If you want to contribute to the next edition, you can send us an email with your data and a PDF file that<br />
shows your works, also a link of your website if you have any.<br />
We would love to see your art so don’t hesitate to contact us and welcome.<br />
All artwork in this magazine is copyright protected under the MUSETOUCH Magazine brand or remains<br />
property of the individual artists who have kindly granted us permission to use their work.<br />
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Steve Richard<br />
Beautiful and Dark<br />
Hans Jochem<br />
The Glorious Pain of<br />
the Artist<br />
Mike Worrall<br />
Mystery Element<br />
010<br />
Sergey Ivanov<br />
Hidden<br />
220<br />
Natalie Shau<br />
Eternal<br />
044<br />
260<br />
Olga Larionova<br />
Beauty Revealed<br />
Brad Kunkle<br />
Gold<br />
098<br />
Mandy Rosen<br />
The Gift of Dreaming<br />
302<br />
Alyssa Monks<br />
The Moment<br />
134<br />
Dorian Vallejo<br />
Natural Born Artist<br />
334<br />
174<br />
372<br />
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Steve Richard<br />
“Although I have been shooting for over 30 years, for the past decade I have been obsessed with<br />
creating images that will eventually be part of a larger series of work, and it is rare for me to create<br />
anything that doesn’t fit into a particular series. It is also very important to keep the framework<br />
for my images very simple with only subtle storylines. For me art should plant a seed and<br />
allow the viewer to create or develop the narrative from what they perceive instead of being beat<br />
over the head with one. I also find it way more exciting and challenging to create a strong image<br />
or series of images using only a minimal environment and very little extraneous information.”<br />
Steve Richard<br />
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steverichard.com
Beautiful and Dark<br />
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Mike Worrall<br />
The enigmatic, dreamlike paintings of Mike Worrall are often inspired by historical themes.<br />
Informed by his work in film, Worrall deals with the sublime in his hyperreal depictions of<br />
the mysterious. As in a dream, the quiet façade and the beauty of the large scale oil paintings<br />
masks the intriguing content and enormous energy underpinning the works.<br />
Mike Worrall<br />
Based on the Central Coast of NSW, Australia, Mike has been a practicing artist since the<br />
early 60s and exhibits both locally and internationally.<br />
Mike Worrall<br />
Mike is also represented in Paris, France and is a permanent artist at La Galerie L’Oeil Du<br />
Prince, Located at no 30 rue Cardinet, 75017 Paris, France.<br />
“I have been painting since the early 1960’s and am almost entirely self taught. I still retain the<br />
basic technique and style developed in these early years. I am committed to exploring the subconscious<br />
and I like Paul Delvaux and Max Ernst amongst others.<br />
Mike Worrall artist<br />
I’ve worked in the feature film industry as an Ideas Artist. You can see my work on Alien III<br />
website. I was told by Roman Polanski that a painting of mine he had, gave him the idea of making<br />
the film Macbeth. He based the second scene on the painting. I have works in the collections<br />
of Victor Lownes, Alan Price of the Animals, Roman Polanski, Nicholas Roeg, Vincent Ward,<br />
Alex Proyas and many others.<br />
Since moving to Australia in 1988, I’ve exhibited regularly with Wagner Gallery Sydney, and<br />
have a one man show every two years.<br />
As a child I was always intrigued by paintings involving some sought of mystery element. So I<br />
have tended to be drawn in this direction myself. Get the viewer guessing and wondering what<br />
it’s about! Quite often I’m not sure myself but for some inexplicable reason it might work as a<br />
picture. I might not understand it myself even. It may be an expression on a face or just a pose or<br />
location.<br />
I’m a firm believer that I should not have to attempt to explain the enigma to people and that the<br />
picture should retain some mystery for a lasting interest. This I hasten to add is not so with all<br />
work off course! I’m only referring to my surreal content paintings!<br />
I’m interested in Dreams and Subconscious thoughts and the weirdness of how we go from one<br />
thought to another in an almost drifting process. Dreams are a great source of material for me.<br />
Not that I wake up and paint the dream that I may have had, even if I could remember it, I’d<br />
then have to most likely make up the details. My paintings are more deliberate and constructed<br />
with the element of change.<br />
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Mystery Element<br />
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When I was younger I did a lot of disturbing horrific subject matter and themes, dealing with<br />
Shock & Horror, such as Bruegal’s Triumph of Death and skeletons! I even did a painting called<br />
“After the Rape” in Preraphalite realism. I cringe when I think of it nowadays as it must have offended<br />
many people! Although I don’t remember anybody saying so.<br />
I think most people realized that I was trying to show the Pathos in such a subject. These days<br />
I’m still interested in death of course, but I think I’m more subtle. I have always had a fascination<br />
with beautiful subjects, especially women and I love painting them, especially getting a<br />
good expression or gaze! I rarely use a model for a painting. I prefer to make it up and invent a<br />
woman out of my head. This doesn’t always work out well and I often as I call it reach the top of<br />
the mountain then with too many strokes of the brush start the descent down the other side into<br />
the abyss! So I either scrap it or resort to using a model.<br />
I am an Intuitive painter. If it doesn’t work in an Intuitive way, I can’t progress. I don’t suppose<br />
that’s all that unusual really, I suppose all artists are intuitive!”<br />
Mike Worrall<br />
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mikeworrall.com
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Natalie Shau<br />
Natalie Shau is mixed media artist and photographer of Russian and Kazakhstan descent<br />
based in Lithuania (Vilnius). She found interest in fashion and portrait photography as well as<br />
digital illustration and photo art.<br />
Despite her personal work, Natalie also creates artwork and photography for musicians, theater,<br />
fashion magazines, writers and advertisement.<br />
She also worked as an art director for a short 3d movie of Kamel Ouali musical “Dracula”<br />
Some clients : Lydia Courteille jewelery, Kamel Ouali, Kara expo, Island Def Jam, Ogilvy &<br />
Mather, Sony BMG, Century Media, Nuclear Blast, Trisol, Metropolis records, Peaceville Records<br />
( Cradle of Filth ), Michael LAFON, Actes Stud, Simon & Schuster Books, Cadbury, Le<br />
Livre de Poche...<br />
Galleries : Kat von D’s Wonderland gallery ( USA ), Corey Helford Gallery ( USA ), Vanilla<br />
Gallery ( Japan), Dorothy Circus Gallery ( Italy ), Cabinet des Curieux ( France ), Last Rites<br />
Gallery ( USA ), STRYCHNIN Galleries ( Germany ), Phillips de Pury & Company gallery (<br />
USA ).<br />
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natalieshau.carbonmade.com<br />
www.facebook.com/natalieshauofficial
Eternal<br />
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Brad Kunkle<br />
Born in rural Pennsylvania, Brad Reuben Kunkle spent his younger years exploring and romanticizing<br />
the beauty of the sparse countryside and the deep forests around him. From an<br />
early age he was drawn to the worlds of Maxfield Parrish and the Pre-Raphaelites --worlds,<br />
he says, “where a subtle, supernatural beauty seems to be hiding under the breath of women<br />
--worlds where something beyond our natural perception is waiting to be found.”<br />
He studied painting at Kutztown University mostly under George Sorrels, who was taught by<br />
a pupil of the 19th century Academic painter, William Adolphe Bougereau. Filled with academic<br />
principles, Brad felt confident in his ability, but stifled by the structure of schools and<br />
dissatisfied with the boundaries of traditional imagery. In an effort to discover his own artistic<br />
sensibilities, he worked as a commission-based portraitist, and began an almost decade-long<br />
journey of continued self-instruction and independent study.<br />
Brad was searching for an unnatural quality in his paintings, and it was ironically discovered<br />
by reducing his processes to the elements of painting he felt came most natural to him.<br />
His minimal palette is inspired by the grisailles of early European masters and the haunting<br />
quality of antique photographs and daguerreotypes. “Grisaille has a mysterious quality to it,<br />
and that mysterious quality is also at times carried into the way I will treat an object or a dress.<br />
Sometimes I like to give just enough information for the viewer to finish the details of what they<br />
are seeing.”<br />
As a decorative painter in his mid twenties, he leafed entire walls in copper. He was beguiled<br />
by the shifting, life-like nature of the surfaces, and began to incorporate gilding in his work.<br />
This proved to fulfill the unreal quality he had been looking for to convey his moody, romantic<br />
ideas of human nature and ritual.<br />
“The use of gold and silver in my paintings serve two main functions --the first being symbolic.<br />
Gold and silver serve as symbols in many ways but to begin with, they are ‘material’ symbols in<br />
harsh contrast to the spiritual or intangible aspects of life. The shifting of the leafed skies and<br />
wallpapers are also symbolic of the ever-changing world we live in. Furthermore, gold is the<br />
single most controversial element in the history of mankind. It causes wars, brings death, happiness<br />
and beauty - symbolizes love, power, greed, and religion...it’s symbolic properties are just as<br />
malleable as it’s physical properties.<br />
The second function of the leaf is to react directly with the viewer. As one walks across a room or<br />
dims the lights, they are affecting the painting and the painting is affecting them. The paintings<br />
become a living, breathing thing to me when the leaf is shifting and the oil is quiet. The art literally<br />
becomes interactive and can give the work a supernatural quality. The use of grisaille, or an<br />
adaptation of grisaille, against the leaf can give the sense of a very surreal space and unnatural<br />
depth within the paintings.”<br />
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Gold<br />
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In an old wooden box that holds his paints, he keeps a slip of paper with a quote from Pablo<br />
Picasso. “You must always work not just within but below your means. If you can handle three<br />
elements, handle only two. If you can handle ten, handle only five. In that way, the ones you do<br />
handle, you handle with such ease, more mastery and you create a feeling of strength in reserve.”<br />
“I paint to connect with the part of being human that is beautiful and slightly dark, stripped to<br />
it’s truth and always changing --The part of being human that appears to be romantic, but feels<br />
very real.”<br />
Brad Kunkle<br />
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bradkunkle.com
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Alyssa Monks<br />
Born 1977 in Ridgewood, New Jersey, Alyssa Monks began oil painting as a child. She studied<br />
at The New School in New York and Montclair State University and earned her B.A. from<br />
Boston College in 1999. During this time she studied painting at Lorenzo de’Medici in Florence.<br />
She went on to earn her M.F.A from the New York Academy of Art, Graduate School of<br />
Figurative Art in 2001. She completed an artist in residency at Fullerton College in 2006 and<br />
has lectured at universities and institution nation wide. She has taught Flesh Painting at the<br />
New York Academy of Art, as well as Montclair State University and the Lyme Academy College<br />
of Fine Arts.<br />
“Using filters such as glass, vinyl, water, and steam, I distort the body in shallow painted spaces.<br />
These filters allow for large areas of abstract design - islands of color with activated surfaces -<br />
while bits of the human form peak through. In a contemporary take on the traditional bathing<br />
women, my subjects are pushing against the glass “window”, distorting their own body, aware of<br />
and commanding the proverbial male gaze. Thick paint strokes in delicate color relationships are<br />
pushed and pulled to imitate glass, steam, water and flesh from a distance. However, up close,<br />
the delicious physical properties of oil paint are apparent. Thus sustaining the moment when<br />
abstract paint strokes become something else.”<br />
“When I began painting the human body, I was obsessed with it and needed to create as much<br />
realism as possible. I chased realism until it began to unravel and deconstruct itself,” Alyssa<br />
states, “I am exploring the possibility and potential where representational painting and abstraction<br />
meet - if both can coexist in the same moment.”<br />
Monks’s paintings have been the subject of numerous solo and group exhibitions including<br />
“Intimacy” at the Kunst Museum in Ahlen, Germany and “Reconfiguring the Body in<br />
American Art, 1820–2009” at the National Academy Museum of Fine Arts, New York. Her<br />
work is represented in public and private collections, including the Savannah College of Arts,<br />
the Somerset Art Association and the collections of Howard Tullman, Danielle Steele and Eric<br />
Fischl.<br />
Alyssa has been awarded the Elizabeth Greenshields Foundation Grant for Painting three<br />
times and is a member of the New York Academy of Art’s Board of Trustees. She is currently<br />
represented by David Klein Gallery in Birmingham, Michigan. Alyssa currently lives and<br />
paints in Brooklyn, New York.<br />
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alyssamonks.com<br />
facebook.com/alyssa.monks
The Moment<br />
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Hans Jochem<br />
Hans Jochem illustrates in his painting works, mainly portraits of women, which are shaped<br />
convincingly as lines, sometimes a start, sometimes accurately carried out as a striking calligraphy<br />
and in surfaces, then again resolutely and voluminous. The frame of his work is particularly<br />
very rich and hides a great love for the painting itself. Nevertheless he embraces the<br />
knowledge that no single work is really completed. That keeps on going, even if he pulled his<br />
hands away from it. Even if: over and over again the most recent painting carries the promise<br />
for what lies ahead and will really fulfil his intentions for the first time. It is however a bittersweet<br />
illusion, the glorious pain of the artist.<br />
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www.hansjochem.com
The Glorious Pain of the Artist<br />
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Sergey Ivanov<br />
Sergey Ivanov is a professional photographer living and creating in Moscow, Russia. He is<br />
passionate about fine art, but also commercial and especially wedding photography with deep<br />
mening hidden behind every pose, color, light and expression.<br />
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seriv.com
Hidden<br />
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Olga Larionova<br />
Olga Larionova was born in 1979, in Khotkovo, Russia. In the year 2000 she graduated from<br />
Abramcevo applied art college, Ceramic department. In 2008 she graduated from I. E Repin<br />
Institute for Painting, Sculpture and Architecture, studio of easel painting, professor S.<br />
Kichko.<br />
Expositions :<br />
2005 - Personal exposition in the I. E Repin Institute exposition hall.<br />
2007 - Group exposition of “ Academy of Arts “ Foundation in World Art Center Delft, The<br />
Netherlands.<br />
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academart.com
Beauty Revealed<br />
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Mandy Rosen<br />
Tell us who is Mandy?<br />
I am a 23 year old girl born and raised in Huntington Beach, California. Since the age of 14<br />
I have lived in Italy, Costa Rica, New York, and various cities in Arizona. I attended the University<br />
of Arizona and received my BA in art history. Last summer I lived in New York City<br />
working on set at Victoria’s Secret as an intern to fashion photographer Russell James.<br />
How did you first get into photography?<br />
I purchased my first camera, a FugiFilm finepix s700, at age 20 for $99.00. It was love at first<br />
sight. This was my first DSLR and allowed me to do things that I had never been able to do<br />
with a camera before, such as working with shutter speed and macro settings. I began taking<br />
my camera with me everywhere and would take pictures of any random thing that caught my<br />
eye: a crack in a window, a close-up of a spiderweb, the reflections in rain puddles, a beautiful<br />
landscape, you name it! After about a year of this random photojournalism, I discovered<br />
the world of fine art photography and began concentrating on that instead and creating selfportraits.<br />
What cameras or techniques do you use?<br />
Currently I use a Canon 5d mark ii with a 50 mm 1.4 lens.<br />
What do you know now that you wish you knew when you started?<br />
Definitely how to Photoshop!<br />
What are you trying to say with your photographs? I sense the message behind each of<br />
them...<br />
My passion is levitation and fine art photography. It’s a way for me to escape reality into an<br />
ethereal realm; where I can defy gravity, walk on water, play a different character, and make<br />
dreams come true. Anything I imagine I can create. As a young child, I was heavily influenced<br />
by my grandmother, a very talented storyteller who filled my cousins and I with the most<br />
vivid imaginations. In her stories my cousins and I were apart of the “cousin’s team;” where<br />
we embarked on wild adventures, used our magical powers to conquer evil, and transported<br />
ourselves to any part of the world through a magic bubble. Her stories serve as inspiration for<br />
my work, and allow me to exercise my creative freedom. Every image I create is dedicated to<br />
my beloved grandmother, who gave me the gift of dreaming.<br />
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The Gift of Dreaming<br />
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What do you hope to achieve with your photography?<br />
I hope to do celebrity portrait photography and one day open a school for fine art photographers.<br />
What’s your dream photography project?<br />
To do a shoot with Katy Perry where she is flying through a land of super enlarged fruit and<br />
floating on clouds.<br />
What’s the biggest life lesson you’ve learned through photography?<br />
To be patient! It took many months for me to learn Photoshop and the ways of shooting in<br />
various lighting conditions.<br />
How do you see yourself in the future?<br />
Always dreaming, always happy:)<br />
MS<br />
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mandyrosenphotography.com
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Dorian Vallejo<br />
Who are you Dorian?<br />
I’m an American born artist.<br />
When did you realize that you are an artist?<br />
That’s sort of a convoluted question or rather the thoughts encompassing my answer are. The<br />
short and somewhat romantic but true answer is, that I began drawing so early that it has always<br />
been a part of me. My earliest memories are of drawing on pieces of paper, on the floor,<br />
by the foot of my father’s easel while he painted. When my mother was cooking dinner he<br />
would sit me on his lap and we’d draw together.<br />
At a certain point I entertained ambitions of being a professional athlete, but by the time I<br />
was serious about a career, I knew exactly how I wanted to spend the hours of my life and to<br />
what purpose I was devoted. I’ve been tweaking, an exploring the definition of the word and<br />
concept of “artist”, ever since.<br />
How do you see? What is it about the scene or subject that speaks to you, makes you feel and<br />
causes you to create a painting or drawing?<br />
There are variations but for the most part, I’m searching for a representation of the heroic<br />
or the ideal in a poetic sense. One of my favorite philosophers says something like, art is the<br />
representation of life as it might be or ought to be. Through me, that manifests itself in an attempt<br />
to create something beautiful in a symbolic sense. Not meticulously copying what’s in<br />
front of me but instead, using it as point of departure.<br />
From where is your inspiration coming?<br />
Ah, the famous question. Over the years, having gone to lectures given by the many artists<br />
I’ve admired, invariably some version of that question comes up. Usually it takes the form of,<br />
“where do you get your ideas?”. For some reason, it’s always amused me. Honestly, I’ve always<br />
felt there are so many tangents of creative inspiration in the air, one need only to reach out to<br />
grab hold and go for a ride. That said, I have many ways of accessing sources that inspire me,<br />
and do my best to be open to new avenues of stimulus, as I become aware of them. I sketch<br />
from imagination, I hire models to work from life, I make time to draw the people I love, I<br />
have an ever growing collection of art books, I study photography and film and try my best to<br />
look at the mountain of art that has been and continues to be created in the areas of art that<br />
interest me, I read and write; all, on a fairly consistent basis. From this pool, images and particular<br />
streams of thought begin to rise and take shape.<br />
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Natural Born Artist<br />
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Imagination is the word in some way crucial for your art … how does or should, that word<br />
relate to an artist?<br />
First, I should say I don’t have any “rules” about what “should” relate to any artist. For myself,<br />
the world of imagination and symbolic fantasy is a creative vehicle which allows for both penetrating<br />
philosophical exploration and playful expression.<br />
Is it important to remain true to yourself and your individual vision as an artist?<br />
Such a major question… the short answer - YES, absolutely. For me, ideas and concepts that<br />
form one’s ethics are concrete. I see the whole purpose regarding individual vision or some<br />
semblance of truth as summed up in the oft repeated quote “know thyself ”. I don’t know any<br />
other way to honestly engage that quest but to be genuine and sincere; true to self and the<br />
individual, as an artist and a human being.<br />
How do you see yourself and your art in the future … what do you wish?<br />
I have some specific goals I’m working on at the moment that I’m not ready to reveal but<br />
more importantly as a working modus operandi, I’m constantly trying to improve on my<br />
previous performance. With that in mind, the vision of my future, simply put, is to do the best<br />
that I’m capable of doing. Since none of us know the limit of our potential, I’m pushing to see<br />
what I’m capable of.<br />
What do I wish? I genuinely wish to produce works of art that I hold in the same regard as I<br />
have for for the other great artistic achievements of humanity and that my efforts might inspire<br />
someone else… nothing too humble:)<br />
MS<br />
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doriansportraits.com
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natalieshau.carbonmade.com
To draw public support and to popularize the Russian Academy of Arts I. E. Repin Institute of Painting, Sculpture<br />
and Architecture, Saint Petersburg “Academy of Arts” Foundation has been founded in 1996.<br />
General objective, pursued by The Foundation, is domestic and foreign promotion of I.E. Repin Institute’s students<br />
and graduates through expositions and media projects.<br />
Web site of the “Academy of Arts” Foundation (www.academart.com) has been created in 1999. To familiarize<br />
the broad audience, comprising museums’ and private galleries’ personnel, collectors and amateurs of fine arts<br />
with the avenues, explored by The Foundation, it was further revised and updated on 2002 and 2011 years.<br />
Website organized as online galleries of the artists graduated, teaching and studying in the I. E. Repin’s institute.<br />
Main goal of the gallery is providing the best creative artworks by academician artists all around the world.<br />
Foundation’s online gallery united over 50 well known figurative artists with recognizable manner and progressive<br />
style from Saint-Petersburg.<br />
Worldwide promotion of Saint-Petersburg modern figurative art is main strategy of the Foundation’s activity.<br />
Outstanding paintings of the most of participants in Foundation’s projects combined classic traditions of figurative<br />
paintings with contemporary mentality.<br />
In the nearest perspective of the our activity is creating of wide database of I. E. Repin’s institute graduates for<br />
last 50 years. We also provide online exhibitions of the best works, artists and important art themes on the www.<br />
academart.com<br />
Vadim Moiseev<br />
General manager<br />
“Academy of arts” Foundation<br />
academart.com<br />
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