Olga Abramova – Moments of Quiet Contemplation

I bear in mind the second I encountered the work of Olga Abramova. It was on the 2019 IAPS exhibition in Albuquerque. I walked in and noticed this huge portray of a bodhum with a steaming cup of espresso in entrance of it. A few jars accomplished the scene with the entire thing set contre-jour. This portray with its restricted palette and visual mark-making was an ideal instance of the facility of a well-designed worth sample. I used to be blown away! And never surprisingly, it gained the Gold Award. From then on, I stored a watch out for this artist’s work.

And right this moment I’m delighted and excited to introduce you to Olga Abramova who fortunately accepted my invitation to be a visitor blogger on How To Pastel.

Curious to see the profitable piece? Take a look.

Olga Abramova, "Winter Breakfast," 2018, pastel, charcoal, acrylic on white paper, 70 x 70 cm. Sold. I drew this painting for my book to illustrate my point that you can find the subjects to paint everywhere. The painting participated in IAPS 34th Juried Exhibition in Albuquerque, NM, USA in 2019 and received the Gold Award.
Olga Abramova, “Winter Breakfast,” 2018, pastel, charcoal, acrylic on white paper, 70 x 70 cm. Offered. I drew this portray for my e book as an instance my level that yow will discover the topics to color in all places. The portray participated in IAPS thirty fourth Juried Exhibition in Albuquerque, NM, USA in 2019 and acquired the Gold Award.

Earlier than I hand over the weblog right here’s somewhat bit about Olga Abramova.

Olga Abramova Biography

Olga Abramova, IAPS/MC, PSA, NPS, IFA (Russia), Pastel society of France (SPF), is knowledgeable artist, a instructor of drawing, and co-founder and President of Nationwide Pastel Society of Russia. She has been exploring pastel method for greater than 20 years. The artist’s work have gained many worldwide awards. She has been printed within the Pastel Journal, the Pratique des Arts journal, and she or he is the creator of the e book Pastel, printed in Russia by EKSMO. To see extra about Olga, take a look at her website.

And now, right here’s Olga!

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The principle concept of my work is the retention of human sensory expertise in these accelerating instances. I’m immersed in meditation-like scenes the place time is current. I’m in search of moments of quiet contemplativeness. That’s why most of my work are made in a comfortable color vary that catches the viewer, leaving them alone with their temper.

In my search, I leaned on the Impressionists, Tonalists and Symbolists – those that put inside their paintings one thing greater than a practical plot, weaving their emotions into color shapes.

Studying from Vilhelm Hammershøi, Andrew Wyeth, Wolf Kahn, Michael Vrubel, and others, I search out means for my very own inventive language and I’m nonetheless on this journey.

My solution to pastel

My first contact of this materials was in a flash.

It was at college once I laid my fingers on an outdated field of my father’s pastels. At that second I noticed that with pastel I may simply do the whole lot I wanted. My first severe work with pastel was my thesis at college, which consisted of a number of psychological still-lifes. I selected that theme as a result of, for me, still-life is far more than a gaggle of fairly objects. I needed the viewer to see somebody’s private historical past behind the objects portrayed. 

Olga Abramova, "Blueberry. Sunny Latte," 2021, pastel, acrylic, charcoal оn Canson paper, 100 x 100 cm. One of the paintings in the Blueberry series. Was exhibited at the 49th PSA Annual Exhibition Enduring Brilliance and received the Richard MсKinley Mentorship Award.
Olga Abramova, “Blueberry. Sunny Latte,” 2021, pastel, acrylic, charcoal оn Canson paper, 100 x 100 cm. One of many work within the Blueberry collection. Was exhibited on the forty ninth PSA Annual Exhibition Enduring Brilliance and acquired the Richard MсKinley Mentorship Award.

Topics

I’ve been portray still-lifes for a very long time.

I additionally like different themes comparable to flowers and landscapes for number of color palette and sudden color mixtures. For a extra emotional expression, it is important to not enclose the color within the framework of the shape. 

Johannes Itten had an excellent concept, that borders are in the best way of color. I at all times paint my works by transferring from color spots to the small print, with out making an attempt to suit the color right into a ready drawing. This manner I can painting emotions that don’t have any boundaries.

I typically paint portraits or plot scenes. I’m fascinated by exhibiting a considerate and somewhat drawn character in an surroundings that includes a state of sunshine, fragments of a panorama or inside.

Olga Abramova, "City Park," 2021, pastel, gouache, charcoal on paper, 40 x 50 cm. I was seated in a Moscow cafe in hot summer when this subject appeared. What caught my attention was the state of lightness and the blue dress against the backdrop of the bright and sun-drenched grass. The painting participated in Festival international du pastel Ville de Feytiat this year.
Olga Abramova, “Metropolis Park,” 2021, pastel, gouache, charcoal on paper, 40 x 50 cm. I used to be seated in a Moscow cafe in sizzling summer time when this topic appeared. What caught my consideration was the state of lightness and the blue costume towards the backdrop of the brilliant and sun-drenched grass. The portray participated in Pageant worldwide du pastel Ville de Feytiat this 12 months.

Pastel and combined media

I labored solely with pastels, with out mixing them with different supplies, for a really very long time. The type of labor varies relying on the paper you utilize. 

To start with, I drew on Canson Mi-Teintes paper for pastel, then I received carried away with abrasive paper. With a brand new paper, you may lose your customary method of working. For instance, it was an eye-opening expertise for me to attract on Pastelmat, which doesn’t assist you to combine colors whereas mixing. I actually like this paper for fast plein air works although.

Olga Abramova, "Dune. Sketch," 2018, pastel on Pastelmat paper, 30 x 30 cm. Painted en plein air with my students in the Netherlands when it was windy and raining at times but we had some minutes to play with this view.
Olga Abramova, “Dune. Sketch,” 2018, pastel on Pastelmat paper, 30 x 30 cm. Painted en plein air with my college students within the Netherlands when it was windy and raining at instances however we had some minutes to play with this view.

I now usually combine pastel with different supplies. I fell in love with combined media at my tutorial portray classes whereas finding out at college. I combined pastel with gouache then. I nonetheless do this now. Generally I add acrylic, charcoal, sauce (sticks fabricated from pressed powder of soot, clay and glue), and mix them with pastel in several proportions. Further media assist me to be extra spontaneous in my work and to shift away a bit from my standard use of pastels and found know-how. This system combine enriches my footage with new properties and textures.

For combined methods, I desire white or black rolled paper for graphics. I pull large-sized paper onto sketch boards after which work with charcoal, gouache, acrylic, alternating layers with pastel primer.

Olga Abramova in the studio with paper stretched and ready to work on.
Olga Abramova within the studio with paper stretched and able to work on.
Olga is pulling paper which is soaked in water over a wooden sketching board.
Olga is pulling paper which is soaked in water over a wood sketching board.

Аbstract design of shapes

I normally begin my portray with an summary design of shapes. Generally I want I wouldn’t go additional.

This step is the core of the portray – the emotional base which creates a temper. I really like starting a brand new paintings. I can comply with my instinct, apply huge spots of color, and set the environment of my piece.

Olga Abramova, "Wisteria," 2019, Step 1, tinted primer for pastel Art Spectrum with charcoal on paper, 70 x 70 cm.
Olga Abramova, “Wisteria,” 2019, Step 1, tinted primer for pastel Artwork Spectrum with charcoal on paper, 70 x 70 cm.

So as to not lose the freshness of these preliminary summary findings, I take footage of the method and go on working, maintaining in thoughts that very first stage, and doing my greatest to maintain these already-found tone mixtures, temper, and generality. 

It’s also vital for me to maintain all of the layers seen, together with these first ones, in order that they shine with their completely different states via one another. This permits me to sharpen the viewers’ emotions and provides them area for creativeness.

Olga Abramova, "Wisteria," 2019, Step 2, I apply the first abstract spots of colour forms with soft pastels, 70 x 70 cm.
Olga Abramova, “Wisteria,” 2019, Step 2, I apply the primary summary spots of color types with comfortable pastels, 70 x 70 cm.

Later, within the stage of hammering out particulars, my evaluation switches on and a sure feeling of wrestle seems. It’s important to not spoil the first cohesiveness of the primary plenty.

Olga Abramova, "Wisteria," 2019, Step 3, Clarifying the main details, charcoal, pastel on paper, 70 x 70 cm.
Olga Abramova, “Wisteria,” 2019, Step 3, Clarifying the primary particulars, charcoal, pastel on paper, 70 x 70 cm.

On the ultimate stage I regulate the steadiness of primary components, make sure that nothing is in extra, and attempt to maintain the state discovered within the first layers.

Olga Abramova, "Wisteria, "2019, charcoal, pastel on paper, 70 x 70 cm. Step 4, I continue to work with the details, following the main center of the composition.
Olga Abramova, “Wisteria, “2019, charcoal, pastel on paper, 70 x 70 cm. Step 4, I proceed to work with the small print, following the primary middle of the composition.

Format

I desire working giant. It offers me the liberty to maneuver and an opportunity to work extra with area in my work. A big-format image has a particular impact on the viewer. It fills them with color and feeling. 

For instance, it’s unimaginable to admire Mark Rothko’s work in an album of 20×30 cm. I want I created monumental artwork, identical to him, however then I’d have to surrender pastels which I’m not prepared for but. 

The utmost dimension I work with is 100x150cm as a result of it’s the most attainable dimension of the glass wanted to border pastel works. After I really feel like creating a bit larger than that, I break the story into two components and make a diptych, with the composition flowing from one image to the opposite.

Olga Abramova, "Diptych Rustle," 2021, pastel, acrylic on paper, 90 x 180 cm. Private collection in Moscow. I see these herbs every time I walk near the house and never get tired of admiring them.
Olga Abramova, “Diptych Rustle,” 2021, pastel, acrylic on paper, 90 x 180 cm. Non-public assortment in Moscow. I see these herbs each time I stroll close to the home and by no means get uninterested in admiring them.

I like small-sized work as nicely, however each time I draw them I must get in the fitting mindset, whereas engaged on large-sized footage is at all times effort-free.

In a small portray, you may also open up a complete world. Giorgio Morandi is one instance of an artist who did this. As soon as in noisy Moscow, there was his exhibition, quiet and lightweight. I stood for a very long time in entrance of his tiny artworks. He painted dried flowers and typically even synthetic ones; there was a lot life in them.

Olga Abramova, "Rose 1," 2021, pastel, charcoal on white paper, 26 x 26 cm. My series, Little Flowers, consisted of six small paintings and almost all of them are made with coloured charcoal in underpainting.
Olga Abramova, “Rose 1,” 2021, pastel, charcoal on white paper, 26 x 26 cm. My collection, Little Flowers, consisted of six small work and nearly all of them are made with colored charcoal in underpainting.

Mild

Certainly one of my favorite subjects to discover is shade and lightweight. I actually like contrasting gentle, when objects nearly lose their colors within the backlighting. You possibly can see this in my portray “Winter Breakfast” on the prime of this publish.

Right here all the eye is on the tonal distinction, which, for my part, is an important distinction in portray. It could be OK to make errors with the color, however errors with the tone flip your work right into a bland piece. Deep distinction, from white to black, makes the image highly effective and attention-grabbing. You possibly can’t give such an image a miss. It excites, energizes, or disturbs.

If you happen to intend to create a temper of tenderness or unhappiness, then most certainly the tone of the portray will likely be softer. For the final two years, I’ve been exploring a high-key palette and creating items, the place the black color is current solely within the type of small spots. After I maintain colors shut in worth, they mix and float collectively, and I can create a mysterious, emotional feeling.

Olga Abramova, "Old House - The Apples," 2019, pastel, charcoal, acrylic on white paper, 70 x 70 cm. The painting participated in an IAPS Exhibition and in exhibitions in France and in Russia.
Olga Abramova, “Previous Home – The Apples,” 2019, pastel, charcoal, acrylic on white paper, 70 x 70 cm. The portray participated in an IAPS Exhibition and in exhibitions in France and in Russia.

In my work, I transfer in the direction of simplification – composition, color, form. I wish to convey the whole lot as near simplicity of rendering as attainable, and that is the toughest factor. Full mastery is to make it easy.

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I don’t learn about you however I’m soooooo impressed by Olga Abramova’s extraordinary work. Please do tell us your ideas by leaving a remark. All questions are welcome!!

Till subsequent time,

Gail

PS. Please notice, together with writing her visitor publish, Olga Abramova translated it from Russian (her mom tongue) to English!!

PPS. Wish to see a superbly produced movie of Olga Abramova at work? Right here it’s!