In artist's perspective - interview with Pavel Fedorov

«Every artist learning his craft, accumulates emotions and impressions. And all of those impressions like annual rings in a tree trunk. It's like a foundation, which we don't see, but that holds the whole building of your art.» - Pavel Fedorov

Russian artist, a member of German International Association of Artists, Pavel Fedorov, shared his perspective on creating process and how art reflects your experience.

I: Let's start from basics. What genre of painting are you working in?

P: Technique - canva, oil. Genre - surrealism, realism and, well, in Germany it was named as metaphysical painting.

I: What does metaphysical painting mean?

P: To be honest, I don't really know myself (laughing). Well, in general it appeared after covid. I started to mix half-surrealistic nature with half-destroyed cities.

I: How this idea came to your mind?

P: Once upon a time my friend asked to depict Saint-Petersburg with dirigables and all of that stuff. I put my fantasy in it and well known places started to seem very differently.

I: And I saw a few ones with political context. What's the story behind?

P: A few fellows from Karelia had seen my paintings with mixed views and said: "We want a political plot. Our future: cops are everywhere, everything is prohibited. An icon of Putin on the dirigable." Now I stepped out of political topics.

I: Yes, I see a lot of nature motives in your paintings now.

P: The roots of it are in Primorsky Kray, where I was born. It's one of the most various nature: jungles, clear water, high blue sky.. The climate allows you to grow watermelons and climb the mountains. Visited a lot of places in Russia, but haven't seen such a thing.

I: Very different from Saint-Petersburg, isn't it?

P: Yes, you can imagine contrast with SPb with its flat horizon, marshland and 'frigging grey blanket' (always gloomy weather). Maybe I started to miss these places and that's where more conscious art comes from.

I: Do you depict real places?

P: I usually refer to real places, but I take them from my head. And when I compare photos with my paintings, they look different, because my feelings mixed in. I work by memory, driven by feelings, that's where surrealism plots come from.

I: So, you don't really write from photographs?

P: A photograph is a flat image. And in life, you can feel with your eyes, all the shades and volumes look different. It is more convenient to work with live material. Cynical, but anatomical (laughs).

I: How do you usually work?

P: I work indoors, with studio lighting. I do not write in a pasty way, but in splashes - layer by layer - it gives the effect of depth.

I: Whose technique is it?

P: This is how the Dutch generally write. This technique was used to paint portraits of dukes, still lifes just like a photograph. This school is still there and it is very cool. Dutch painting looks very museum-like. I do not follow their canons. I got my own, quite recognizable style.

I: Which was very much appreciated in Russia and even internationally. As far as I know, you are a member of German Association of Artists. How did it happen?

P: Everything turned out strange. I had a goal to get into the union of artists. In order to do this, you need to present your works in museums-reserves. In one of these I stumbled upon a personal art critic, who recommended me to the "Villa Crell" (Russian nature reserve). And after 3 months I'm already flying there, with paintings and everything. A year later I was recommended to Witland. A delegation from Focus Europe, the German International Association of Artists, came there. There was a selection, and I was added to the party.

I: And how is it going now?

P: I have a permanent exhibition in Germany now.

I: I am very glad to hear that! You have your own exhibition and I am wondering how you didn't have an urge to change them after some time.

P: I really didn't. I understand that I used to write as amateur. But don't want to change anything.

I: How do you understand a painting is done?

P: When internally I am satisfied, then I understand that the painting is done. But that's not the case all the time. Sometimes I can burrow myself.

I: What do you mean?

P: Recently I placed 25 of my paintings at an exhibition. In 2 months I wrote around 14 paintings. I basically didn't get out of my studio.

I: And what is your normal pace of painting?

P: My comfortable pace is 4-5 paintings per month.

I: What creates the mood?

P: Cannot write in silence - thoughts start attacking me, so I prefer listening to audio books or music.

I: Such as?

P: Classical, jazz, blues. From electronics - "Monolake", it is close to my spirit. Something calm and atmospheric.

I: Do you have any painting written under the influence of music?

P: I had a series of paintings influenced by "Monolake" - in blueish colours.

I: What painting is your favourite or the most worked on?

P: Not that much invested, but it came out full of harmony and balance. Planned to write "Demons cape." In Primorye there is a constantly stormed place where boulders stick out of the water. Looks magical, but in fact very dangerous. The painting of it is like a logo now.

I: What artist inspires you? With whom would you like to work, even if they already passed away?

P: Not a problem, it's evening already, we can draw a pentagram and call them (laughing).

Well, it would be interesting to see how Aivazovsky worked. He created some of his canvases in a day.