"Art Gallery on Novinsky" presents the exhibition "Workshop of free creativity under the leadership of Vyacheslav Korolenkov" Automatic translate

In Moscow, in the gallery "On Novinsky" from September 6 to 12 will be the first exhibition of the "Workshop of Vyacheslav Korolenkov." The works of the maestro and his students will be presented. The workshop of Vyacheslav Korolenkov for three years. The main and only direction is painting. The artist holds master classes in various places of our country and abroad. Neither Vyacheslav nor his students leave Moscow unattended either. In the creative program of the workshop, obligatory trips to the open air. In the preferences of Vyacheslav Korolenkov - impressionism, good drawing, classical painting. As a true artist and teacher, the owner of the “Workshop of Free Creativity” is not alien to all genres in painting. “Especially my heart trembles when I see a combination of breadth, conditionality, understatement with subtlety in tone and detail.”

People with different backgrounds and different writing styles come to Vyacheslav’s workshop. An artist-teacher is trying to find an approach to each of his listeners in order to reveal his best sides. “It’s a great joy for me when my students make discoveries and their works begin to sound.”

Come to the exhibition of Vyacheslav Korolenkov and his students in the "Art Gallery on Novinsky"

The exposition will last from September 6, 2014 to September 12, 2014

Gallery opening hours 12.00 - 20.00

Gallery Days Monday - Saturday

Closed: Sunday

Address: Novinsky Boulevard, d.13, p. 6

Phone: 8 499 252 16 17

On the eve of this exhibition, Sergey Fateev was talking with Vyacheslav.

- Vyacheslav! Examining your work, you feel a strong energy. How does such a strong impulse arise, which is then transmitted to the viewer?

“How it arises is a mystery to me.” One thing I can say for sure - I am writing in a state of ecstasy. Where does it come from, I don’t know. He is just born inside and that’s it. Having chosen the plot, I have a premonition of take-off or soaring. Inside my pan, the soup begins to boil. These seething bubbles of paint and absorb the viewer.

The artist’s canvas is a carrier of energy. It shows at what level of awareness the author is. What is depicted on it does not matter, in the end, every painter writes light. Passing through the exhibition, someone stops at paintings radiating horror, chaos, someone freezes at works that bring peace, tenderness, joy. In both cases, resonance occurs. The viewer is saturated with the quality of energy that the canvas carries. A thin person will not come close to working with rough vibrations. Conversely, a character with a rigid perception of the world will not look at a work permeated with peace, purity and clarity. It simply will not affect him due to the fact that he does not have an organ that can subtly feel. Well, of course, there is an organ, it just is in its infancy or underdeveloped state. A person like a skating rink will not notice that a flower has moved, rolling it into the asphalt.

If the artist sees imperfection in everything, his work will be charged with this vision. He transfers his doubts and discontent to the canvas. Often this looks like a disagreement with the structure of the world, and therefore, with his creations, he opposes the will of the creator with all the ensuing consequences.

- Representatives of the fair sex are often depicted on your canvases. Why does this topic concern you so much?

- I can’t recall the time in the history of mankind, when the female image would not have worried the artist. Woman is the most perfect of all creatures living on Earth. I am trying to express my admiration and enthusiasm for her beauty in my works. I owe all the best that is in me to the women I have met in my life. I think that women will always inspire me while I exist.

- Do you think your paintings are a source of sublime or interior decoration? And what is talent?

- Everyone decides for himself. I just fill my work with sincerity, and the viewer or buyer still sees his own. One can see something big, the other will say: “Cool”, the third will pass by. Also normal. My business is to create without thinking about grades. It seems to me that this is the most important thing that you need to pay attention to in your work. When the worm of the market penetrates the painting, the artist begins to fade. He becomes dependent on the desire of the buyer and his talent disappears. Talent is an advance given to you by the Head of our large hospital. You can develop it, but you can lose it. There is only one criterion - honesty, sincerity. Well, in order to develop and increase, you need to study and work, perhaps all your life. Nikolai Feshin once said that if his paintings conveyed the smell, we would smell the sweat that sprinkled his canvases.

- Your style is impressionism. Which of the classics of this direction do you consider to be your teacher?

- The definition of style is the work of art historians. Probably the closest impressionism, I will not argue, the impression for me is the main thing in painting. I don’t understand the protocol, recount, meticulous accuracy. Painting is not bookkeeping. Everything is a little wrong here. That’s why it’s breathtaking. The closest thing to painting is music. She makes the soul tremble. And after all, it is also not so in it. If so, then this is pop music or thieves.

There are many teachers. The names of the great impressionists are well known to everyone. I will not list them. I’ll tell you about one teacher. That’s life. She is the best teacher. It has everything: birth, quest, failure, ups, downs, light, darkness, death. Life is my main teacher. Each new day is a gift that has been generously given to us by the Friend. I pay him for this generosity than I can. And I will pay until I have enough strength. That is my understanding of duty.

- Which of the living and writing in this style you could mention?

- Bato Dugarzhapova. I think that he is an unsurpassed master. I can say a lot about his work, but I will not do it. We are friendly. It seems to me that he will be uncomfortable if he reads my enthusiasm.

- Now there are big changes in society. Do you consider yourself a relevant artist?

- I do not feel any changes in society. For centuries, man has been filled with fear, laziness and ignorance. In order to overcome this in yourself, you first need to find all these things in yourself. To do this, you need to at least briefly become honest with yourself. After this, you may be thirsty to find out. And only then the wheel will roll. Wheel of samsara. Everything that is happening in the country now, I try to use in order to find in myself the shortcomings or vices that I struggle with. For me, the main thing is not to change someone specifically or society as a whole, no. The main thing is to change yourself. What is happening around is for me the best tool for sharpening the tip of my blade, which, of course, is in the hands of the Almighty. That is His will. We must go through the trials that the Germans, Japanese, and other nations went through.

I do not consider myself a relevant artist. Honestly, I generally hardly relate to the concept of an artist. Somehow it’s a little uneasy when they call me that. And even more relevant or irrelevant. Well, let’s try to figure it out. Mikhail Vrubel wrote his demon. Was this relevant for that time? It seems to me that any answer may be wrong, because this work is beyond time. It has no point of application, for the demon is something formless, it is a part of each of us. We are bifurcated, frustrated, undifferentiated. Now I want one thing, I start to do it, I want another, and so on to infinity. Tomorrow morning I will start doing exercises. I wake up and the second part of me says: “No. Not today". And in general, as long as there is a “want”, the matter is seams. Because “I want” has a “me”. And if there is an “I,” then where is God? “I” and God are already two. But He is one! That’s bad luck turns out.

- You exhibit a lot. Does the viewer change? What does he want? Do you go about needs or educate the viewer?

- The viewer does not change. “In Paris, nobody cares about you, in Russia every passerby is trying to teach you how to write,” Vrubel said a hundred years ago. My friend, who recently wrote sketches on the streets of Paris, confirmed this axiom. People are different, like wheat sprouts in a field. Those who are stronger than the genotype and who got more moisture are higher than the rest. Those that are poorer are lower. What does the viewer want? It so happened that it stopped bothering me. I write what excites me. Experience suggests that if the work is done sincerely and filled with energy, then there will certainly be someone whose soul resonates.

It’s not my business to educate. You know how difficult it is to change something in yourself, how can you count on something if you suddenly had an extravagant thought - to change someone else?

- You conduct master classes. What is this for you?

- Any master class for me is a very natural event. Firstly, it is communication with friends. Those who come to me are friends or become them. Calling them students, and yourself as a teacher - the language does not turn. I don’t feel the difference between us. We go the same way, I’m just slightly ahead, half a step away. Rather, I myself feel like a student, and probably this is a very, very long time. In fact, it is in excellent condition. Each new picture is an absolute unknown. She is a mystery to me. There is a foreboding, but I do not know what will turn out. And will it work out. It looks like a first love, everything is writhing in the chest, hands are hanging out, legs are fussing frantically back and forth: now toward the picture, now back. Eyes are frantic. In general, everything is as usual.

- And what will be presented at the exhibition for which you are preparing?

- My new work and the work of my friends who decided to do what they love with me. We recently returned from Montenegro, where I held an international master class. I hope the guys will bring to the exhibition the most interesting and best of their work. These will be not only Montenegrin sketches. We write a lot in Moscow, Crimea, in the studio. For them, this is the first exhibition. They are worried. I think that this is an absolutely wonderful condition and it is wonderful that we will exhibit together. The fact that you decide to show your work to people is a powerful incentive for further discoveries. And for me it is a very joyful event. I support each of them and look forward to the reaction of the audience to their revelations. An exhibition is always a kind of exposure of one’s soul, this is an event when the author is especially defenseless, because he shares the innermost. I wish all my friends to remain in this thrill after the exhibition for many years to come.

Sergey Fateev © Gallerix.ru