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REVIEWS, ARTICLES
                                                                                                                                                          
 

One-Artist Theatre
Review by Lira Kay, Writer, Artist, Gallerist, Boston, USA, 2011
(Translated by Alexey Moskvin. Original text in Russian is below)

 
At first glance, paintings by ARINA, a British artist of Russian origin, may be perceived as grand self-portraits, as her works usually depict her own face. But it is not a traditional portraiture. It is rather a theatrical performance where the painter is, in fact, an actress who uses her face to express what she aspires to convey through her paintings and then documenting this one-actor show – ‘One-Artist Performance’ in paints.
 
ARINA transforms images on her canvases into poignant representations of human feelings and emotions, into magnetic, almost tangible symbols of movements of the human spirit, the human soul. The artist's inspiration is shined through a prism of her own unique perception of the world and is projected directly onto her canvases. She restricts her colour palette to the ascetic monochrome that brings not only the rigour of the minimalism and almost surgical sterility and pureness into her work, but also certain anonymity of the depicted images.
 
Realistic and skilfully executed in traditions of Renaissance masters, almost sculptural, paintings by ARINA can feel comparable to iconic masterpieces but the artist chooses not to provide any direct references. What ARINA offers to the audience is an elusive hint, a possible association, a suggestion for the spectator to call on their own creative self and their imagination. The artist shares with us the possibility of collaboration in the process of creation of her unique works of art.
 
Although, despite the astonishing realistic style, paintings by the talented artist are also can be seem surreal. In her work ARINA establishes her own reality, creating timelessness on her canvases. She invents the space without any recognisable signs of time or place, the Universal primordial space out of which all conceivable and inconceivable versions of the reality arose - the space that can be transformed by the viewer's imagination into any of those realities. This mesmerising, pulsing infinity of the Universe is ever present in ARINA's paintings - it beckons the viewer to the amazing inner world of the artist.
 
The first glance at her paintings takes your breath away. Against the background of the monochromatic restraint and austerity there is the sudden explosion of energy, the passionate call to participate and be involved in the depicted image - the vividness of Red Colour! With help of the deep and powerful cadmium red ARINA generates the hypnotic whirlpools of energy that mesmerise the viewer.
 
'Red colour is very meaningful to me', says the artist, ‘in many cultures ‘red’ often symbolises passion and love, in the Tibetan philosophy red symbolises connection with the Universe. In Russian language, particularly in Russian folklore ‘red’ often means ‘beautiful’. Dostoyevsky once said 'Beauty will save the world' and I am convinced that images and objects created with love and faith in love can have an immense influence on physical and mental state of the beholders.'

'Any positive works of art', continues ARINA,  'can have a positive impact on everything around us, bringing the balance of love and peace into the world, therefore saving it. Following up on Dostoyevsky who believed that beauty will save the world, I believe that art is this powerful tool that was given to us to bring Beauty into this world - to save it.'
 
Once seen, her paintings cannot be forgotten - they linger in your mind. Immediately recognisable, they have their own individual and unique voice in the vast choir of contemporary art. ARINA is often called a 'contemporary Vermeer'. Undoubtedly, it is a very flattering comparison for the artist but, nevertheless, there is no need to compare her with anyone else. She is unique and she has already found her name.

She is - ARINA.




Театр одной Художницы
Review by Lira Kay, Writer, Artist, Gallerist, Boston, USA, 2011


На первый взгляд картины АРИНЫ, известной британской художницы русского происхождения, могут восприниматься как массивные автопортреты, так как на ее картинах в основном изображена она сама, но это не традиционная портретная живопись. Это скорее перформанс, представление, где художница выступает, как актриса, манипулируя ее собственным лицом, для того, чтобы выразить то, что она стремится передать в ее работах, и документируя этот "спектакль одного актера", “театр одной художницы”, как художник-живописец.
 
АРИНА трансформирует образы, вдохновившие ее, в пронзительные символы человеческих чувств и эмоций, в магнетически притягательные и почти осязаемые символы движения человеческого духа – души. Художница рассматриваeт  образы, с которыми она работает, через призму своего уникального восприятия мира, перенося трансформированное отображение этих образов на свои холсты, как лакмусовую бумагу внутреннего содержания этих образов.
 
Она намеренно ограничивает свою цветовую палитру, используя аскетический монохром, что привносит в ее работы почти хирургически стерильную чистоту и строгость, четкость минимализма и универсальную анонимность образов.
 
Cкульптурно реалистичные, технически выполненные на высочайшем уровне, в традициях мастеров Ренессанса, работы художницы могут вызывать ассоциации с шедеврами мирового искусства, но АРИНА не дает зрителю каких-либо прямых ссылок и цитат, предоставляя аудитории лишь неуловимый намек на возможные ассоциации, тем самым предлагая зрителю довериться его собственному творческому ‘я’- воображению. Художница щедро делится с нами возможностью со-творчества, со-участия в процессе со-творения ее уникальных работ.
 
Несмотря на удивительно реалистичную манеру письма, картины талантливой художницы абсолютно сюрреалистичны - в своих работах АРИНА создает свою собственную реальность, помещая образы на своих полотнах в безвременье, в пространство без каких-либо узнаваемых признаков определенного времени или места, без каких-либо других определенных характеристик вообще - в универсальное первородное пространство, в котором зарождаются все мыслимые и немыслимые варианты реальности и которое может трансформироваться в воображении зрителя в любой из возможных вариантов.
 
В картинах АРИНЫ присутствует бесконечная пульсирующая Вселенная - и эта Вселенная завораживает, неумолимо вовлекая зрителя в удивительный внутренний мир художницы.
 
Увиденные впервые - ее работы потрясают. На фоне монохромной строгости и аскетизма – неожиданный взрыв энергии и страстный призыв к вовлеченности и причастности к изображаемому образу - насыщенный Красный Цвет! С помощью этого мощного, глубокого ‘кадмия красного’, АРИНА создает на своих картинах энергетически невероятно сильные, почти гипнотические завихрения, которые завораживают смотрящего на ее картины.
 
‘Красный цвет имеет очень важное значение для меня,’ -говорит художница, - ‘во многих культурах красный часто символизирует страсть, любовь… в Тибетской философии красный символизирует связь со Вселенной... В русском языке, особенно в русских народных сказках, ‘красный’ часто имеет значение ‘красивый’. Один из всемирно известных русских  писателей Достоевский сказал - Красота спасет Мир...Я убеждена, что образы и обьекты, созданные с любовью и с верой в любовь, имеют огромное влияние на физическое и душевное состояние человека, как например, образы и обьекты религиозного искусства, например, иконы... ‘

‘Любые позитивные произведения искусства’, - продолжает АРИНА, - ‘могут позитивно влиять на окружаущую нас реальность, сохраняя в мире баланс любви, сохраняя мир, тем самым спасая его. Вслед за Достоевским, который верил, что Красота спасет Мир - я верю, что искусство и есть этот могущественный инструмент, который призван нести Красоту в этот Мир - сохранить его.’
 
 Увиденные однажды, ее картины невозможно забыть - они остаются с вами, мгновенно узнаваемые и распознаваемые, как отдельное уникальное течение, в огромном потоке современного мирового искусства.  АРИНУ часто называют современным Вермеером. Бесспорно, это очень лестное для художника сравнение, и все же, несмотря на это, нет нужды сравнивать ее искусство с кем бы то ни было. Она - уникальна,  и у нее, как у художника, несомненно, уже есть свое собственное имя.
 
Она - АРИНА.


 
 
ARINA
Review by Renée Phillips, Director Manhattan Arts International and co-juror “Art that Lifts Our Spirits”, USA, October 2013


When seeking artists for our exhibitions we look for art that reflects technical prowess and more: It must inspire, engage us and transport us to new places of awareness.

ARINA’s painting “Radiant Angel – Victorious”, from her Trinity series, fits this criteria. Her female subject’s penetrating gaze is as seductive as Vermeer’s “Girl with a Pearl Earring”, and her painting may also be considered a masterpiece in its own right.  

While we were making our selections for our online exhibition “Art that Lifts Our Spirits” we recognized ARINA as a formidable contemporary realist among her peers. Her skills are supremely grounded in the most ardently traditional techniques while they simultaneously capture a sense of timelessness.  

Her use of the stark juxtaposition of the color red and the monochromatic bare skin of her subject is vulnerable yet powerful, compelling and evocative. The shades of black and white speak to the duality of human nature and present eloquent variations of a unified theme.  

Most significantly the color red is a highly symbolic color that triggers a myriad of diverse emotional and metaphysical responses. For instance, the Red Square in Moscow, named long before the Russian Revolution, meant simply "Beautiful Square" whereas in Tibetan philosophy the color symbolizes connection with the Universe. 

It is apparent to us that ARINA communicates the universal language of art and unifies culture in her art. For us, she is an artist who excels in expressing her creative vision and her art most definitely lifts our spirits.




The Magic of ARINA
Review by Dusty Pendleton, Artist, Writer, USA, 2013

 
We have come to expect some artists to express their difficult, if not tortured lives with poorly spelled texts, replicated in neon lights, soiled bed linens and the detritus of a bohemian life-style that is almost insisted upon by the public. After all, it reflects a reaction to the classical methods of painting instruction and if the artist cannot tolerate such hide bound rules of paint handling, then it must be that there is no other way than to follow all those other well- known painters who dropped out and found their own ways of expressing their angst and rebellion with society.  It’s all so pat, isn’t it? From Van Gogh to Schiele and Picasso, it’s been the same.

However, what if there was a painter who flourished under such strict tutelage but wanted more?  What if that painter was willing to leave the world they knew and enter into another, even if that meant learning a language and not just of new ways to speak words but a totally new alphabet that required ones entire focus just to get by, day to day, in a foreign country.  Add to this, it has to take place almost instantly in order to enter a newer and far more rigid course of study that would sorely test the abilities of those who already had a native grasp of the language of instruction.

These are some of the challenges that faced ARINA as she left her home and family in Russia and immigrated to London to seek out an art education. However, she succeeded; for hers is such a drive that she managed all those hurdles and came away with a splendid grasp of classical realism. However, she has also been able to pick and choose; to sort out the necessary tools to express her needs in a way that no other painter today can match.

To look at the suite of paintings that ARINA has exhibited is a glimpse into a life that has been assaulted with what seems to be catastrophic difficulties. We see the bust portraits of a woman whose physical features is rendered in shades of grey that seem almost to be on the edge of x-rays; while her head wears an enormous wrap of a red that is of an intensity that we know must be of some significance. It is a red that packs emotion of a sort that causes the figure’s head to appear totally bald as if it has been bombarded by gamma rays or depilated by incredibly caustic chemicals. Then again, that red is one that can express a dedication to a holy order that might insist upon a shaved head and total lack of cosmetics. We are left to decide but we also understand that we are likely to never fully understand the why’s of what we see.

Then there is the model herself; a woman whose expression seems to shift from that of someone who is accepting the situation and determined to carry on with a dignity that so few people can ever muster. Or is it? Might it not be that the woman’s face reflects her own reaction to us, the people who stand in front of the paintings and offer up our individual opinions about what is or has happened? Still, there is no hint of judgment there; there is only an understanding that we are, in some way, flawed. Then there are the works that show how she slowly turns away, content with the understanding that the struggle is hers alone and that we are only spectators, not able to aid or abet in any way but not posing any threats either.

At this point, we can take stock of what we’ve seen and felt and suddenly there is the realization that all of this comes from so few visual clues, such an economy of means that it is astounding in the simplicity. Two colours, no more; bust portraits of a woman but done in a way that we are forced into some very complex intellectual exercises and still allowed to stand and stare or walk away but knowing all along that we won’t have forgotten what it is that we saw and felt. This is the magic of ARINA’s  painting and a reminder of just why it is that London ranks where it does in the world of fine art, for there is no place else, of which I am aware where we could enjoy such an encounter.




ARINA - The Theatre of One Artist - 20th Century Theatre
by Lyes & Jones,
Posted 14 Mar 2013

 
In keeping with the rising popularity of Russian art in the UK and around the world, from 16 – 20 April, exhibitors Lyes & Jones will be providing you with the perfect opportunity to invest in one of the most exciting and credible contemporary artists. They will be showcasing the paintings of Russian born hypersurrealist ARINA at the 20 Century Theatre in Notting Hill.

Lyes & Jones’ ethos is working with credible artists who have developed their own style and identity, bringing them to a sophisticated audience who seek quality, originality and inspiration. The exhibition is designed not just for art collectors and investors, many of whom have seen strong returns on Russian art due to its growing popularity, but also for art enthusiasts who will simply enjoy hanging these works in their homes.

Most recently Russian art took centre stage in London when Saatchi Gallery announced two blockbuster exhibitions, one focusing on Non-Conformist Art of the 1960s-80s and the other on art since the fall of Communism in 1990. Their aim was to raise the profile of Russian art and their success has not only been felt by the capital’s artists and galleries but has also led to a significant boost in interest from the major auctions houses.

Russian-born British artist ARINA is a multi award-winning artist who exhibits her works all over the world. Her paintings have featured at such acclaimed venues as the Saatchi Gallery in London, the Venice Arsenale in Italy and the BJ Spoke Gallery in New York. ARINA has also been included in Reinhard Fuchs’ book, 'Masterpieces of Visual Art. The Great Female Artists from the Middle Ages to the Modern Era', in which she is mentioned as one of the biggest female artists in art history alongside the likes of Frida Kahlo, Louise Bourgeois, Georgia O‘Keeffe, Tracy Emin, Yayoi Kusama among others.

At first glance, paintings by ARINA may be perceived as grand self-portraits, as her works usually depict her own face. But it is not a traditional portraiture. It is rather a theatrical performance where the painter is, in fact, an actress who uses her face to express what she aspires to convey through her paintings and then documenting this one-actor show in paints. ARINA transforms images on her canvases into poignant representations of human feelings and emotions, into magnetic, almost tangible symbols of movements of the human spirit, the human soul. Immediately recognisable, they have their own individual and unique voice in the vast choir of contemporary art.

The first glance at her paintings takes your breath away. Against the background of the monochromatic minimalism there is the sudden explosion of energy, the passionate call to participate and be involved in the depicted image - the vividness of Red Colour! With help of the deep and powerful cadmium red ARINA generates the hypnotic whirlpools of energy that mesmerise the viewer.

'Red colour is very meaningful to me', says the artist, ‘in many cultures ‘red’ often symbolises passion and love, in the Tibetan philosophy red symbolises connection with the Universe. In Russian language, particularly in Russian folklore ‘red’ often means ‘beautiful’. Dostoyevsky once said 'Beauty will save the world' and I am convinced that images and objects created with love and faith in love can have an immense influence on physical and mental state of the beholders.'

Lyes & Jones was established in 2012 by Antonia Bowen-Jones and Tim Lyes. Their launch exhibition “State of the Art” was held at the Hoxton Arches receiving both commercial and critical success. It is their defining belief that collecting art is a long-term lifestyle passion, facilitating an involvement with innovation and creativity. Antonia has been involved in the arts world her whole life; as a student, an artist, a curator, and a gallerist. She is the founder of the legendary Bristol gallery café, The Arts House, where she showcases work from Banksy to emerging local talent. She was introduced to Tim Lyes, an international commodity trader and keen collector of contemporary art, by a London art critic in 2005 and they decided in 2012 to bring their respective skills together to create Lyes & Jones.

The 20 Century Theatre, originally built in 1860, will act as the perfect canvas for the exhibition with its high ceilings and stunning arches. The walls will be decorated by the stunning paintings along with a large projection on to the stage itself, giving you a sense of the high theatre that this imposing space was intended for.


Start 16 Apr 2013, End 20 Apr 2013
Times 11:00 to 18:00, Venue 20th Century Theatre
Address 291 Westbourne Grove , Notting Hill, London, W11 2QA.   UK
Phone 0207 734 9499, Website www.lyesandjones.com




LYES & JONES PRESENT ARINA’S RUSSIAN ART
Red Carpet Magazine, 15 Mar 2013


Russian art is enjoying rising popularity in the UK and creating investable works around the world. Exhibitors Lyes & Jones are capitalising on this interest with the creativity of Russian-born artist Arina. 

ARINA IS…

A multi award-winning artist who exhibits her works all over the world. Arina’s paintings have featured at London’s Saatchi Gallery, Italy’s Venice Arsenale and the BJ Spoke Gallery in New York. Reinhard Fuchs’ book, 'Masterpieces of Visual Art. The Great Female Artists from the Middle Ages to the Modern Era' mentions her in the same vein as female artists including Frida Kahlo, Louise Bourgeois, Georgia O‘Keeffe, Tracey Emin and Yayoi Kusama.

STYLE

Hypersurrealist  Arina depicts herself in grand self-portraits through the medium of an actress. Monochromatic minimalism sets the scene upstaged by her vivid cadmium red colour splash. “Red colour is very meaningful to me', says the artist. ‘In many cultures ‘red’ often symbolises passion and love, in the Tibetan philosophy red symbolises connection with the Universe. In Russian language, particularly in Russian folklore ‘red’ often means ‘beautiful’.”

THE EXHIBITION & EXHIBITORS 
From 16th – 20th April

, the 20th Century Theatre in Notting Hill will welcome collectors and art enthusiasts at the imposing 1860-built venue. Exhibitors Lyes & Jones continue their ethos of exposing credible artists to a sophisticated audience that values originality and inspiration.

Lyes & Jones was established in 2012 by Antonia Bowen-Jones and Tim Lyes
Their launch exhibition “State of the Art” was held at the Hoxton Arches receiving both commercial and critical success. Antonia Bowen-Jones is the founder of the notable Bristol gallery café,

The Arts House and Tim Lyes is an international commodity trader and collector of contemporary art.




ARINA - THE THEATRE OF ONE ARTIST

·        
The  Paintings of Russian born hyper-surrealist ARINA, are to be showcased at the 20th Century theatre in Notting Hill from 16th- 20th April.

Russian Art has most recently been under the spot light at the Saatchi Gallery: one exhibition with a focus  on Non-Conformist Art of 1960s-80s and the other on art since the fall of capitalism in 1990.

With the growing popularity of Russian Art at this moment in time, Lyes & Jones are presenting a fine showcase displaying just why this is. ARINA is a multi-award winning artist, who has been listed alongside the likes of Georgia O’Keffe, Yayoi Kusama and Frida Kahlo as one of the biggest female artists in history.

Arina’s works which are so  breathtaking and powerful and are immediately recognisable as hers. From the monochromatic minimalism to the bold explosions of the deepest red- not symbolising passion or love as in many cultures- but Beauty as it is in Russian.

She is her own subject in the paintings, acting as an actress to convey her message. Her works have been said to create “whirlpools of energy that mesmerizes the viewer. ” So make sure not to miss out and get a first hand experience of the power of these pieces and enter the theatre of one artist.
 
 INFORMATION    
Tuesday 16th- Saturday 20th April Timings: 11:00 to 18:00 Private view: Thursday 18th April 18:30 to 22:30
20th Century Theatre 291 Westbourne Grove London W11 2QA
Lyes & Jones www.lyesandjones.com  Facebook: Lyes & Jones
 
 


ARINA ART: Enfolding and Unfolding
Review by Paul Drewfs, Writer, Artist, 2012
 

The arena that ARINA reveals is a rare craftsmanship.  Yet, it is ARINA’s iconic concept alchemy that magic's up the deepest mysteries of our universe.  Her paintings make us real to reveal what does, did, and will always matter most. 
A hasty observer might superficially drive-by scan her work, deceive themselves into believing they’ve experienced all there is, and move on.  A tragic mistake, no matter how wise, knowledgeable, and comprehending the viewer might be: here’s why. 
 
Each visit to ARINA’s painting “The Shard of Time,” unpacks new and deeper concepts.  Paradoxically ancient and novel ideas ARINA encoded, and through the piece, into me.  On first experience of that piece, I saw five opposite five – the balancing fingers of the exquisitely rendered hands of the figure.  Moving on, I felt the powerful tension between the hands.  Next, I slowly recognized those hands as a classic symbolic depiction of the Ten Sefirot (the super-partners) constituting the primordial Tree of Life.  I then re-perceived the red notched block suspended between the hands.  Slowly, I realized that the block represents the thirty two paths of wisdom (supercharges) linking the super-partners into the Tree of Life. 
 
Those symbols led me to the visual love being made between the asymmetry of the head and hands of the figure, and the super-symmetry balances the great black and white field with the red one.  That visual masterstroke of tension effectively contains the viewer resonant experience that spans all levels.  While the combining of elements is pure ARINA, the conceptual ingredients she stirred are not.  They are the notions of the 4,000 year old oral tradition – and 2,000 year old written – versions of the “Sefer Yetzirah; The Book of Creation.”  Concepts precisely equalled by the contemporary cosmology and physics of Stephen Hawking and colleagues’ “M-Theory.”   ARINA intuited and conjoined these timeless ideas into a single work, and expanded the very scope of art.
 
ARINA’s “WIDE SHUT EYES” series of oil paintings are individual masterworks that aggregate an avalanche of conceptual revelations.   The red scarf in the paintings symbolizes the progression of external inputs to our subconscious and conscious.  That instantiation that collapses all possible available states into that singular state that becomes our existence and concrete reality: the very definition of birth, life, and death.  The shut eyed figure reveals that our eyes don’t really see the material world.  Only a trickle of the flood of visual information reaches our visual processing centres.  What ARINA perfectly exposes in the series, is the greatest of unsolved mysteries; the characterization of the true source of our selves.
 
ARINA’s painting “NIBIRU,” yields entirely new experiences to synchronize and optimize the viewer.  Each proficient tuning is a unique enfolding and unfolding of existence, expertly shopped from the uncountable options afforded ARINA by the cosmos.  The black and white female upper body rendered in “NIBRU” penetrates the upper red field, the expertly crafted folds of the headscarf that respond to that corporeal incursion.  The resulting visual and conceptual congress constructs a deliciously universal concept experience, weighted and processed by the viewer, but gracefully orchestrated by ARINA.  I love being loved up like that, while remaining anonymously safe in the darkness.
 
In ARINA’s pieces edgy color is redeemed by a dramatic saviour; black on white.  Fusions of the two contrasting fields make religious love in the mind of the observer.  A first glimpse of NIBIRU is a deep drink of pure intuition.  Then, smooth as ancient Chinese silk, the work enfolds you deeper into it.  Embedded knowledge is value weighted in your mind by multiplying evoked conceptual effects times affects, to yield resonant understanding. 
 
Yet, ARINA’s conceptual spell-binding doesn’t stop there.  Her pieces unfold in unending-bidirectional-looping waves. The perpetual regeneration of your original wisdom experience from your output understanding gained, only to restart your ever evolving experience anew.  When you finally tear yourself away, you depart with a personal mind, spirit, and flow-of-soul treasury.  Assets embedded in your temporal body, but be writ larger on the cosmos possesses it.  Let the “universality” of ARINA’s art transform your every look-back into a brilliant look forward, and fulfil your fundamental in borne purpose.

 

 
ARINA's Faces
Contextual essay by Peter Monkman MA, Director of Art Charterhouse and First Prize Winner of the BP Portrait Awards 2009 at the National Portrait Gallery, London, 2012


Recently within contemporary art there has been resurgence in using the portrait genre as a tool to explore concepts that reach beyond pure appearance and likeness. As an artist that uses portraiture, I am drawn to examine what it is that makes certain figurative artists compelling.  ARINA’s faces stand out from the crowd with a graphic signature style that is memorable.
 
The compositions have a bold directness with the monochromes and reds creating a visual language that communicates across cultures.  Her use of light, composition and pose has a sense of a 17 Century Dutch artists like Vermeer but the use of scale, tone and reference to the photograph and realism bring it firmly into the 21 Century. The qualities of her art have hints of her Russian background within the context of Western influences.
 
On close inspection ARINA’s handling of paint is not of bold gestures but the quiet, slow build-up of tonal values which beautifully suggest the sensual surface of the skin and underlying bone structure. The lack of hair accentuates the features of the face with the folds of the head scarf contributing to the architecture of the head, creating an almost sculptural object. The repetition and slight variation of the compositions suggest film or photographic sequences and the flat red head scarf creates a colour-field that generates an interesting shifting pictorial space for the face to occupy.
 
ARINA uses herself as a vessel for her ideas; however, I would argue the paintings are not self-portraits. The likeness is striking and her expressions are beguiling; she occupies her face with the confidence of an actor trying to communicate to a broad audience. ARINA’s portraits are ambiguous, she does not reveal too much about herself but presents an icon of a woman that can be contemplated and interpreted in many ways; this is where her paintings’ strength lies.


 
 
 
The Year's Best Art
by Tamera Lenz Muente, The Artist's Magazine, USA (December 2009, p.33)
 


“If a painting needs a lot of explanation, it should have been a book or a song rather than a painting,” says Russian-born artist ARINA. “I always hope that my paintings can speak for themselves.” 
 
“I use my face as an actress does to express emotions or feelings,” says Arina. The artist deliberately altered details of her likeness so as to best depict the feeling she wanted to convey.
 
Choosing to restrict her palette, Arina paints in monochrome to play up the influence of light, dark and middle tones on the forms. She typically accentuates the central black-and-white image with a single color, most often red.

“In Russian folk or fairy tales, often the word red is equal in meaning to the word beautiful,” she says. In many cultures, the color red is associated with passion, and, as the artist points out, “the images and objects which have been created with passion can take on an immense power that’s sometimes found in religious art—a kind of powerful energy that has an ability to alter one’s mental state and even transform reality.”
 
Arina has completed her master’s degree in fine arts at Chelsea College of Art and Design, University of the Arts London. She’s now a full-time artist and says, “For me, painting is like breathing—I just have to do it.”
 
 


Battersea artist is the face of National Charity
By Eleanor Harding, The Wansworthguardian, London, UK, Thursday 18th June 2009
 
This striking self-portrait by a Battersea artist who lost her brother to cancer is the new artwork for a project run by Sue Ryder Care.



Silence, by ARINA from Albert Bridge Road , will feature on all marketing material for the charity’s art exhibition this year.
 
The artist said: “I know firsthand how important and valued quality end of life care is. I lost my brother, Alexander, to cancer.
 
"It was an incredibly difficult time, I loved him very much.
 
“As well as supporting the charity to raise vital funds, it is my way to honour my brother’s memory.”
 
ARINA, whose brother died five years ago, based her piece on depictions of the Egyptian queen Nefertiti.
 
The Russian artist studied at Central Saint Martins College of Art and Design and now exhibits all over the world.
 
The exhibition, called Art Liberating Lives, will be held from December 16 to 20 and will sell work by artists of all abilities.
 
It will take place at London’s Mall galleries, with 35 per cent of profits going to the charity’s end-of-life and long-term illness care.
 
 


London artist performs emotions in paint: ARINA exhibits in London
by ADAM CORNELL, 15 April 2009, The Maldon Standart, England, UK
 
All my passion is for portrait painting, but I suggest that my work is a performance rather than traditional portraiture.  ARINA
 


An award-winning artist is returning to the scene of one of her greatest achievements for her next exhibition.
ARINA, originally from Russia but now living in Battersea, London, will be exhibiting two of her works at the Mall Galleries, London, after winning the art critic award there last year, which was presented by Lady Gabriella Windsor, daughter of Prince and Princess Michael of Kent.
 
Her work will be on show from April 23 to May 3, after she received a special invitation from the Society of Women Artists.
 
She said: “I am looking forward to it. I went to Mall Galleries when it opened and there were leaflets for visitors, which is howl found out about it”.
 
Arina was born in the far north of Russia, closer to Alaska than Moscow, before moving to an area close to the Ural mountains.
 
It was here she discovered the beauty of nature and colour and decided to begin painting.
 
She said: “Painting was my passion from as far back as I can remember and I painted everywhere I could.”
 
She studied in Russia and then in 2005 gained a place at the Central St Martin’s College of Art and Design in London, followed by a place at the Chelsea College of Art.
 
Speaking about her art, Arina said: “I always work in hope that my paintings can speak for themselves. I put my thoughts, my feelings and- emotions on canvas by brushes and paints.
 
“I believe, if a painting needs a lot of explanations, it should have been a book written, or a song, or lyrics rather than a painting.
 
“All my passion is for portrait painting, but I suggest that my work is a performance rather than traditional portraiture.”
 
In her work she aims to perform an emotion and paint this, rather than a traditional self portrait, to help portray “a symbol of emotions or feelings’. She usually paints herself as she is the most available person for her to work with.

She said: “During my life I went through a very long journey towards the point where I am now, with the opportunity to be an artist and to do what I love most in my life.”
 
“The Smile” and “Behind the Smile” will be on display at the gallery.
For more information on the artist or the exhibition visit ARINA-ART.com or society-women-artists.org. uk
 
 


by DB - The Vagabond, January 27, 2010
 
 Let our artists rather be those who are gifted to discern the true nature of the beautiful and graceful.  Plato

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These are the amazing stories of ARINA and Vladimir Dukelski. The lives of these two people fascinate me because they are stories about surprises, the unexpected and the happy results of being uprooted and having one's life drastically changed.
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Comments:
I think stories like these are why I don't like to hear from others or say myself the words 'why not me?'.  People have emerged from the most impossible places to make themselves possible. They were true to themselves and their desires.
Truly they did what they must.


















































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