“The beauty of the world is an inspiration for artists. When rays of light touch the surface of an object, a whole symphony of colors, lines, and new forms arise. It is this that is most interesting in painting. Depending on how the light falls, the entire picture of the world changes, and you can write thousands of versions of the same motif, each creating completely dissimilar, unique works.
Stylization and design are very important in art. By choosing the main element and focusing on what is most interesting to the artist, a work is created that may not resemble reality but possesses its own interpretation and uniqueness of vision.
Flowers have a vast diversity of shapes and shades, allowing for the creation of interesting compositions and the enjoyment of the interplay of lines and color spots in any composition, even the simplest.
The same principle applies to models. The Impressionistic approach to painting allows for the rendering of motifs (of models) in a way that is vibrant, bright, and full of temperament. Escaping banality is the main task of an artist: to see beauty and unique individuality in the most ordinary subjects, whether it be a flower, a model, or a landscape.”
Biography
Elena’s narrative paints a vivid picture of someone who has not only dedicated her life to the study and creation of art but also found tremendous inspiration in the world around her. Integrating her life experiences with her formal education and the various roles she has held, it’s clear that her path is marked by a deep engagement with art in multiple forms.
From her early beginnings in Siberia to the rigorous schooling at the Art Academy in Moscow, she’s had a consistent thread of interaction with both nature and the human experience. This duality has fueled her artistic passion and expression. Her work is reflective of an expressive style which seeks to capture the unique moments and impressions life offers with a bold and vivid use of color, aligning with the tenets of Expressionism.
Being inspired by both nature and people, Elena appears to have a sensitivity to the subtleties of emotion and environment, which she translates into her work. Her career has spanned graphic and interior design, indicating versatility and willingness to apply her artistic vision across different canvases. Further, her time teaching shows a commitment to passing on her knowledge and perhaps learning from the fresh perspectives of her students.
Maintaining a long freelance career indicates a strong entrepreneurial spirit, along with the creativity needed to sustain oneself through art alone. Elena’s journey reflects the age-old tradition of artists who are not confined to just one niche but explore various avenues of expression and creativity.
It is through such a rich tapestry of experiences and influences that Elena’s artwork likely resonates with a unique voice—a voice that carries the whispers of the Siberian landscape, the buzz of Moscow’s art scene, the silent dedication of an educating artist, and the vibrant echo of an expressionist’s soul.
In 1994, as Elena relocated to Sweden, her artistic style underwent a remarkable evolution. Taking in the Scandinavian affinity for sleek, minimalist design, her work took on a modern Scandinavian impressionist style, which appeared striking yet harmonious within the famed Scandinavian interiors known for their clean lines and light, airy feel.
This new phase in her art perfectly complemented the modern, understated elegance of Scandinavian homes, where natural elements and simplicity reign. Elena’s paintings became a bridge connecting the indoors with the natural beauty outdoors, serving as windows to the lush Swedish landscapes right within the cozy spaces of Nordic homes.
Her modern Scandinavian impressionist work, praised for its unique ability to blend with interior decor, also found inspiration in the English culture and its storied love for gardens and flowers. The English garden tradition, with its mix of the wild and the cultivated, informed the way Elena brought together the organic growth patterns of Swedish flora with the structured beauty characteristic of English gardens.
Elena’s brushwork—light yet deliberate—mirrored the balance between the planned and the natural, just like an English garden, where colorful flower beds are carefully designed to appear both stunning and spontaneously arranged. The love for such gardens among the English influenced Elena’s palette and compositions, infusing her work with an intercultural charm—a blend of the warmth and romance of English florals with the contemporary, clean aesthetic of Scandinavian design.
This synthesis of the love for flowers she found in Sweden, the influence of English culture, and the Scandinavian interior ethos resulted in an art form that was both global in its inspiration and local in its aesthetic relevance—making Elena’s modern Scandinavian impressionist flowers not merely ornaments but integral elements of a home, reflecting its character and the worldly narrative of their creator.