Varvara Vyborova approaches classic genre compositions in a gentle and new way. Her everyday subjects are able to pull the viewer out of the ordinary.
Tell us about the process of your work.
Basically I am attracted by something I see, anything: objects, a person in an interior, a landscape, just a color combination or spots. I am close to the genre of still life, but not specially staged, but as if a snatched piece of life. And even if I paint flowers, I usually put them in some random place and watch how they live in their surroundings. Also with a person, I need to look closely and see some situation, to think, and I’m not interested in just painting a portrait. Usually I do several works at once, because I can not write one at a time for a very long time and because I try not to miss the moment, if I suddenly something attracted me (interestingly compiled mess on the table or in general anything). So I try to always have small canvases at hand, and if I don’t have them, I write on cardboard or paper. I like to work alone, sometimes with music, sometimes in silence.
What do you mean by “success”?
To be honest, I don’t even know. I guess “success” for me is when I feel that my work has taken shape, that something about it appeals to me. And if these feelings coincide with the feelings of the viewer, then I’m happy, and that’s cool. But in general I don’t think about it, I just write what I’m interested in. I’m a pretty selfish artist in general, because I work the way I want to work. And I’m very happy to have the opportunity to work in that way.
How do you manage to make exhibitions in different countries?
All the exhibitions I’ve had and all the events I’ve participated in have been offered to me, I haven’t done anything on purpose. I have a very hard time with this part of being an artist where you have to write letters, make a proper portfolio, send countless applications, and all my attempts to apply for opencalls have failed. And so I get really excited when I get offered something.
