Olga Yakovleva: "I work contrary to circumstances, and it stimulates" Automatic translate

The venus in the cafe is armless enough to seem like goddesses, and quite earthly to sip wine. Thinking housewife - at the table, but at the same time somewhere between the sign of infinity and the door ajar in the "now". Power transmission pylons - a delightful man-made ornament in the vast expanse of the sky… The Alpert Gallery continues the artist’s exhibition Olga Yakovleva “Between Easel and Plate” . Oksana Tsarevskaya, the art director of the gallery, found out from the artist about the inspiration formula, about happy events and disturbing symbolism.

“When would you know what litter the verses grow from…” This inspirational formula is suitable for many creative people. How does this happen with artists?

Inspiration is in beauty, and beauty is indeed everywhere. She is in sun glare on a jar with cigarette butts on the stairwell, in the foliage under her feet, in the look of the Pyaterochka saleswoman, in a random frame of some movie… She was even in the feverish blush on the cheeks of my youngest son when he was ill.

And in the works of other artists?

Sure. I love very different authors, but not entirely, but some separate works. The Italian Renaissance and the art of the 20th century inspire me: the works of Henri Matisse, Kuzma Petrov-Vodkin, Andre Derain, Georges Braque, Jojoba Seur, Casimir Malevich, David Hockney… As a woman I admire Natalia Goncharova - multifaceted, talented and very powerful.

Orest Kiprensky believed that at the sight of the creations of geniuses courage is born that can replace several years of experience. Agree?

Of course, copying is the best teacher, so at a certain stage you cannot do without it. As a matter of fact, at the academy we did this - we copied the great Italians. Of course, a strong influence on me was made by the teachers of Stroganovka and even fellow students: Sergey Lazarevich Zalysin, Ivan Lubennikov, Nikita Medvedev, Yura Meleksetyan, Irina Gerasimova, Maxim Lytov.

You entered the Nizhny Novgorod Art College, already having a medical specialty. What then happened?

I painted since childhood. True, I did not like paint, my tool was a regular ballpoint pen. Art albums poured to the holes, which came to me on occasion. But to become an artist?! It never crossed my mind. As usual, everything was decided by chance. My older colleague, whom I showed my notebooks with drawings, had connections in an art school. In the face of a familiar model. In general, in such a long way I got to preparatory courses and as a result I entered the school.

And in Stroganovka, someone also had a familiar model?

I came to the academy to enter, already knowing for sure that I want to be only an artist. In addition, I was lucky. In Moscow, without preparation and the first time I went to the monumental department, and even turned out to be the first number in points. Immediately I met my future husband - he is also from Nizhny, he studied design two years older. His apartment was a kind of center of our community, he met everyone, patronized, showed the city, the institute… In general, indeed, I was very lucky.

Your world now is a family, a house, a kitchen… Not crowded?

Yes, closely… But every person in life has his own duty, the cross that he must bear. Woman’s duty is home. And painting is a pleasure. And even luxury. But you can’t get sweets only. There are responsibilities. For me, home and kitchen are the work that I have to do.

Travels, open airs, exhibitions, museums, new meetings… As a rule, for an artist this is an ordinary series of life events. And all for the sake of one - new experience, new images and impressions. Do you miss this?

By character, I’m rather a loner. Meetings are generally the last thing I need. I visit exhibitions only the most interesting for me. If travel happens, it’s good, but I won’t specifically look for them. I don’t even like adventure films, where the scene changes all the time - I don’t feel comfortable in them. As an artist, I personally do not have enough peace and silence.

The picture "Monologue", I know, you wrote to yourself. On it you are between the sign of infinity and the open door, at the table on which there is a glass with the remains of beer. Disturbing symbolism, don’t you find?

I was very lonely and sad then. Women will understand this - postpartum depression is called. But it was a long time ago…

You are a member of the Moscow Union of Artists, a monumentalist. You do not have a workshop, but a family in which there are two small children. A triptych on a pizza box, drawings on a corrugated cardboard, small embroideries are amazing, very touching… Can you admit that family circumstances and living conditions determine the scale of the artist’s creations?

Oh, of course! In the workshop, I would have kicked something three- or four-meter! But for now, you have to restrain yourself.

And the material on which I draw is determined by its presence. It happens that an idea arose, and it really bursts with me from it. And then you grab everything that comes to hand.

Children will grow up, less time will be required. What if some new household duties appear? Aren’t you afraid that painting remains a rare pleasure?

On the contrary, I am afraid that when there is a lot of free time, the desire to draw will disappear. I am not one of those who does not part with a pencil. And there are times when you have to force yourself. Now I work contrary to circumstances, and this is what really stimulates me. As if to spite everything: domestic routine, everyday life, lack of time and space… So, maybe it’s good that there are some obstacles.

Bernard Shaw believed that a picture that is praised by more than ten percent of the public is to be burned. How important is it to enjoy your work?

It is nice when the work resonates in the souls of people. But the opinion of several colleagues in the workshop is more important to me. And also my spouse, who is rarely satisfied with my work. But it just stimulates me to search. And by the way, often he gives me very valuable advice in work.

The history of painting knows women’s names, but, unfortunately, hardly anyone will remember any “great Italian” or even “little Dutch”. The 20th century expanded the boundaries of women’s freedoms, but men still dominate contemporary art. Why do you think?

Because the world is ruled by men. And men have more opportunities for self-realization. Like it or not, everything rests on a woman - family, home, children. Men are free in this regard. But also, it seems to me, in art, in addition to artistic perception, an analytical mindset is required, namely the male one. At least in order to say something new.

Religious themes are traditionally concentrated in church art - an icon, a mural, a mosaic. This is a kind of protected area, where canons are unshakable, where free author interpretations are impossible. You are a believer. Your retelling of the gospel stories, however, seems bold and even innovative, whether it be the Virgin Mary the Mammal or the plot of the Last Supper. Why is it important for you to speak out on this subject?

This is still secular painting. Here you can dream up a bit. Gospel stories are timeless and relevant at all times. This is an inexhaustible source of inspiration, and therefore many artists raise this topic in their work. I’m not an exception. Although, it seems to me, I have nothing innovative. I would be glad if I really managed to do something new.

Oksana Tsarevskaya