Yuliya Stratovich's works are fascinating because of their mostly deep black base and the strong, bright contrasts. She paints Nordic places that she has only been to in her daydreams. Dynamic mountain landscapes and vast oceans characterize her creative work. In an interview, the young artist reveals how her creative work has changed over the years, what meaning her motifs have for her and how she has always remained true to art, even in less easy times.
The Path 2017
When did you start painting?
Even during my childhood, since I was three years old, I remember it clearly. I grew up in a very creative family, my father is an artist. At that time, pencils and paintings were my only toys. We were not rich, but very confident! I have always loved painting. I would say that it was the only thing that ever really interested me and as time went by, my passion remained the same at its core.
Has your work changed over time? Are there other motifs, new techniques that have influenced your creative development?
Of course, a lot has changed. I spent a long time looking for my material and my medium. Because that's the most important part - finding the tools you're going to work with. Maybe you can actually work with any material, but there will be that one special one with which you'll feel a real "kinship" and a certain connection.
Since childhood, I have been inspired by Aubrey Vincent Beardsley and for a long time I thought I would be a graphic artist. But over time, the technique seemed too decorative to me. However, I still find incredible elegance in the medium of ink. Then I mastered the medium of pastel and used it for a long time. I mainly painted nudes because I am enchanted by the human body, which is so beautiful in its imperfection.
Then there was a pretty long crisis when I found the work of Conrad Godlys. I think that artist brought me back to life. I realized that I wanted to try working like him, to do what he did. I wanted to work with a palette knife because that technique was and still is the most beautiful thing I have ever seen. My goodness, that was a great decision! Because the way I paint now is so different from before; I want to convey completely different things. I love working with acrylics and textures and over time I have gained an even deeper understanding of what I do and how I proceed. However, it was him who gave me a second life.
Why did you specialise in the subject of vast Nordic landscapes? What makes them so interesting to you? How did you decide that you wanted to paint them?
I have been thinking about this question for a long time. Because every day I also try other materials, scenes and styles. But I always return to the mountains, the sea and the snow. I have thought about it carefully and I think that every artist paints himself; just like the materials he uses, also "how he looks" (I have a whole theory about this!). I am very young and I don't have extensive, complex or extreme life experiences to share through my work. But in every painting I place small figures, on the beaches or in the mountains. And I always wondered where they came from. Then I realized that it was me! The mountains and the harsh north that I paint are a metaphor for life. All the peaks are the goals we strive for every day. In my imagination I am a fighter, the tiny person in the painting; it helps me to move forward.
Do you see yourself painting other subjects in the future?
Certainly. I change, life changes, I become richer in experience. It is only logical that this leads to something new. Ultimately, I would like to have the opportunity to say something global with my art and to do so with the highest mastery of techniques so that it can be understood universally.
What tools do you use in your work and which do you use most often and why?
I paint with acrylic and palette knife. I love the density of acrylic, the fact that you have to work very quickly with it and it doesn't give you a second chance - you definitely have to know what you want to do. It dries very quickly, which makes it perfect for me as I hate waiting. The palette knife is my great love - the textures, volume and a thousand effects you can achieve with it are incredible. All the "brutal" that is inside me can express it on the canvas. This is self-expression with the help of a palette knife.
You studied contemporary art at the European Humanities University. What was the most important lesson you learned during your time at university and how did it help you as an artist?
The most important aspect is that the time spent at university changed my view of art and my taste in art. You have to remember that I grew up in a post-Soviet country, where the view of art and traditions is completely different from European countries. The spirit of the Soviet Union was still very present. Everything was and is much more academic and conservative. For example, I grew up with the albums of Caravaggio, Semiradsky and Vrubel. That also influenced me a lot. And you can't forget my father's artistic vision, which influenced me a lot.
When I studied "Theories and Practices of Modern Art", I was basically working with things that I didn't accept and that were foreign to me. I think I didn't understand everything at that time. But it changed something in me. And I remember the moment when I realized and accepted that I love minimalism and constructivism. That these simple shapes and lines resonate with me and speak to me; that feeling when you look at something and feel an incredible sense of gratitude for its beauty. I still argue about that with my father.
But I truly believe that beauty lies in simplicity.
What is your vision of your artistic self in the future?
I am inspired to present myself as an artist who works and grows every day. Who is constantly trying something new and developing her skills. An artist who does not expect inspiration, but a daily struggle with herself in the pursuit of growth. When inspiration comes over me, I am also technically ready to embody and express it on the canvas. Maybe even somewhere in the straight edge, to be able to create and draw as long as possible. When you are an artist, you will never be sure of the next day. And that is why you should do everything to make sure that you always have money for materials for drawing and painting. Because painting - is life.
What were the biggest difficulties you faced as an artist and how did you deal with them?
My biggest difficulty was with my father because he didn't want me to become an artist. He wanted something more stable and reliable for me. He generally thought that I wouldn't make it. It was an endless conflict, so I decided to move to another city. Then there was a moment of crisis when I couldn't imagine that I would ever paint again. My hands felt like they weren't mine! I then worked as a florist and in landscaping. I built a studio to at least realize my creative potential in some way, because it's important to keep this creative flame going and alive. One day a book called "The Artist's Way" was in my hands and it pulled me out of this crisis. After that there were also moments of self-doubt, but then friends and family supported me and said that "everything is going well" and "please just keep going". Of course, not everything always went as planned, but all these difficulties are normal on the path of an artist's self-discovery. Now, if something in my technology doesn't work the way I imagine it, I just keep trying until it works.
What inspires you? Do you have times when you don't feel inspired? What do you do during those times?
I am inspired by modern artists such as Ricardo Galán Urréjola, James Somerville, Kim English, Conny Niehoff, Simon Kenny, Lynn Bogges, Jeremy Mann, Douglas Fryer and my favorite Paul Bennett. To be honest, I feel a lack of inspiration about 50% of the time! I just work every day and that's all, that's how my father taught me. Sometimes inspiration happens so suddenly, you have to be ready for it. When it gets too difficult and uninspired, I like to switch to the medium of ceramics for a day, work as a florist or teach one of those subjects. That usually helps. And most importantly, just notice as much as you can around you. To "look" and "see" and try to notice the beauty and be grateful for it.
What is your philosophy regarding art?
Beauty lies in simplicity. I create and make art not because I can, but because I can't stop. In reality, there is no special philosophy!
Thank you for the interview.
The Foam of Days 2017