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Why do I choose to
work in classical realistic style?
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Artists learn everything they can about other artists' styles and
techniques throughout history, filter this information through their own
experience and temperament, and generate their own style.
It can take years for an artist to develop a
specific style, reflecting his or her artistic range and personal
temperament. But, in my opinion, an artist's work must not stop there.
Artists have to constantly take on new stylistic challenges. In this
sense, I’m not afraid of searching for new ways and means of expression.
I’m always trying out new subjects, media, and perspectives - to keep my
work fresh and original.
Some artists find that the emotional impulse drives
them to create, and seek to reveal that emotion in their art. Other
artists are drawn to innate logic and order; they are likely to take a
rational approach to art. Concerning my art, I would say that I’m
seeking to find the balance and accord between emotion and rationality
in my paintings.
I think that the art with classical or rational
tendencies continues to be very popular because it brings to our busy
lives a sense of balance and harmony. With my art I try to persuade the
viewers that if we look carefully enough, we can find a certain
classical beauty and elegant form in the most ordinary objects and
materials. I try to suggest trough my images that perhaps there is a
mysterious, underlying order even in our chaotic world.
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What is
Still Life for me?
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On definition a Still life is a picture of inanimate objects. It has
always been an important formal exercise for an artist. The aim of the
artist is to capture volume, texture and color convincingly enough to
convey an illusion of reality. But I always try to create still lifes that
are more than just a picture of objects. I would like my still lifes to
have a hidden content, to tell a story or to remind us of life’s
brevity.
When I arrange my still lifes, I don’t simply
choose attractive or interesting objects to depict, but I choose objects
that symbolize aspects of our existence and human presence.
My sill lifes have to look like deserted stage sets in a state of suspended
animation - just waiting for the next act to begin, like someone has
just left or someone will just come.
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The creative process
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When I decide to create a
still life, I always have a plan in my mind. I always have a screenplay
for the story I would like to relate. When the idea is clear, I begin to
think about the ways to realize it. When I set the scene, I have to find
the best and the only one possible composition which should convey my
idea, I have to find the most attractive combination of the objects
themselves, their location, the lighting conditions and last but not
least - the point of view. In my opinion, the most important and
powerful means for the still life is the
light. When I arrange my still lifes I
prefer to use light which imitate the natural illumination – like in a
late summer afternoon or morning, and sometimes - intimate candle
lights. This way I achieve warmer and more intimate atmosphere, the
feeling of romantic contemplation or dramatic tension in my still lifes.
For the
painting
- I use canvas prepared with hand made ground coat, following the
technology of the old masters, with gesso-ground based on natural
organic substances.
I prefer to paint on black or dark gray background.
While I paint, I like the objects in my still lifes to appear from the
dark. First I make a precise under painting with acrylic, using a small
ordinary brush. Then I continue with oil using airbrush and brush. My
latest still lifes are made with acrylic paint only.
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I’ve been often asked with question -
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How long does it take to paint one still life like this?
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The answer I always give is that each painting
is different and it depends on the size and the objects. But it is
always at the cost of 33 years painting practice, experience and
knowledge.
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When do I decide that the
painting is completely ready?
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As to me - “That is the question!” It is very important
to know when to stop. One painting, especially realistic, could be
painted lifetime. You have to believe me that it’s a very big temptation
and challenge to paint out to the full the painting (especially when you
have the experience to do this). To me each painting is like a child who
grows and suddenly it gets its own personality and character. And there
comes the moment when you have to respect and follow its own life. The
key is to realize where to stop, to overcome the artistic narcissism and
desire for a skill demonstration, and to conform to the painting’s life.
I’ve been always aspired to keep the painting’s freshness and achieved
mood; do not overpaint it. I’ve never had the ambition to achieve a
hyper realistic quality in my paintings because I find it senseless for
my still lifes. It’s more important for me to attain the mood,
atmosphere and to tell the story I would like to share, and - to suggest
the spirit I wish to inspire.
Maria Varbanova, December 1999
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