Anastasia Kurakina - mimmi, 2024
Media Dimensions: 50 x 50 cm
Image Dimensions: 50 x 50 cm
Edition of 30
Framed/unframed
Split your payment over 10 months with OwnArt 0% APR. Your monthly payment for this artwork could be from as little as £130.00 (unframed).
Each portrait starts with the eyes and a few rough, black outlines. These define the image, which then gradually emerges naturally. 'It's like walking in the mist, and the image gradually becomes clearer and clearer. The fact that I myself don't know exactly what will happen makes it fascinating. I only see myself as a participant in a creative process. The colours also arise intuitively and are dictated by the state of mind of the person I am portraying. I pay attention to the smallest details and emotional reactions, and try to translate them into an individual portrait,' Kurakina says.
'Thanks to this psychological analysis, my paintings show emotions that people never experience in the mirror or through a photograph. What they try to hide, I deepen and make visible. I try to penetrate to the essence of their being. Although that scares some people, there is no need for it. Because as Picasso said: in the end, every artist portrays himself first and foremost.'
Pure magic
Although she works with various techniques and materials, Kurakina's preference is for watercolour on paper. 'I love the directness of watercolour. Every painterly gesture is definitive, and therefore surprising. Moreover, watercolour allows you to leave a large part of the background white, so the image dialogues with the background and, thanks to its transparency, acquires a certain lightness. Although I sometimes dare to apply a few strokes of oil paint, as a solid counterbalance to the soft watercolours.'
'Like Henri Matisse and Italian Renaissance painters like Giotto, I experiment with the vibrant power of colours, trying to leave academic knowledge behind. Like Egon Schiele, I play with framing, making my characters seem to want to escape from their frame. Each new work arises instinctively, and is also a discovery for me every time. If other people experience the same emotions afterwards, that is pure magic.'
Media Dimensions: 50 x 50 cm
Image Dimensions: 50 x 50 cm
Edition of 30
Framed/unframed
Split your payment over 10 months with OwnArt 0% APR. Your monthly payment for this artwork could be from as little as £130.00 (unframed).
Each portrait starts with the eyes and a few rough, black outlines. These define the image, which then gradually emerges naturally. 'It's like walking in the mist, and the image gradually becomes clearer and clearer. The fact that I myself don't know exactly what will happen makes it fascinating. I only see myself as a participant in a creative process. The colours also arise intuitively and are dictated by the state of mind of the person I am portraying. I pay attention to the smallest details and emotional reactions, and try to translate them into an individual portrait,' Kurakina says.
'Thanks to this psychological analysis, my paintings show emotions that people never experience in the mirror or through a photograph. What they try to hide, I deepen and make visible. I try to penetrate to the essence of their being. Although that scares some people, there is no need for it. Because as Picasso said: in the end, every artist portrays himself first and foremost.'
Pure magic
Although she works with various techniques and materials, Kurakina's preference is for watercolour on paper. 'I love the directness of watercolour. Every painterly gesture is definitive, and therefore surprising. Moreover, watercolour allows you to leave a large part of the background white, so the image dialogues with the background and, thanks to its transparency, acquires a certain lightness. Although I sometimes dare to apply a few strokes of oil paint, as a solid counterbalance to the soft watercolours.'
'Like Henri Matisse and Italian Renaissance painters like Giotto, I experiment with the vibrant power of colours, trying to leave academic knowledge behind. Like Egon Schiele, I play with framing, making my characters seem to want to escape from their frame. Each new work arises instinctively, and is also a discovery for me every time. If other people experience the same emotions afterwards, that is pure magic.'
Media Dimensions: 50 x 50 cm
Image Dimensions: 50 x 50 cm
Edition of 30
Framed/unframed
Split your payment over 10 months with OwnArt 0% APR. Your monthly payment for this artwork could be from as little as £130.00 (unframed).
Each portrait starts with the eyes and a few rough, black outlines. These define the image, which then gradually emerges naturally. 'It's like walking in the mist, and the image gradually becomes clearer and clearer. The fact that I myself don't know exactly what will happen makes it fascinating. I only see myself as a participant in a creative process. The colours also arise intuitively and are dictated by the state of mind of the person I am portraying. I pay attention to the smallest details and emotional reactions, and try to translate them into an individual portrait,' Kurakina says.
'Thanks to this psychological analysis, my paintings show emotions that people never experience in the mirror or through a photograph. What they try to hide, I deepen and make visible. I try to penetrate to the essence of their being. Although that scares some people, there is no need for it. Because as Picasso said: in the end, every artist portrays himself first and foremost.'
Pure magic
Although she works with various techniques and materials, Kurakina's preference is for watercolour on paper. 'I love the directness of watercolour. Every painterly gesture is definitive, and therefore surprising. Moreover, watercolour allows you to leave a large part of the background white, so the image dialogues with the background and, thanks to its transparency, acquires a certain lightness. Although I sometimes dare to apply a few strokes of oil paint, as a solid counterbalance to the soft watercolours.'
'Like Henri Matisse and Italian Renaissance painters like Giotto, I experiment with the vibrant power of colours, trying to leave academic knowledge behind. Like Egon Schiele, I play with framing, making my characters seem to want to escape from their frame. Each new work arises instinctively, and is also a discovery for me every time. If other people experience the same emotions afterwards, that is pure magic.'