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Vladislav Yeliseyev — Liberation and Striving for a Masterpiece

The BoldBrush Show: Episode #80

Show Notes:

Learn the magic of marketing with us here at BoldBrush!
https://www.boldbrush.com/

Get over 50% off your first year on your artist website with FASO:
https://www.FASO.com/podcast/

Order your exclusive da Vinci BoldBrush paintbrush set!
https://brushoffer.com/collections/boldbrush

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On today's episode with sat down with Vladislav Yeliseyev, a watercolor and plein air artist who emphasizes the importance of capturing the natural beauty of a place and evoking a particular mood or emotion in the viewer. He tells us about his artistic journey including his education in fine arts and architecture at the Moscow Architectural Institute. He also explains the difference between craft and fine art, why travel can really broaden your horizons both literally and figuratively as an artist, and how experimentation can lead to a masterpiece thanks to the liberation of expression. He also reminds us that developing your style is like developing your own unique handwriting: it happens with time and repetition and isn't forced. Finally, he tells us about his awesome online courses and incredible upcoming painting cruise workshop through the Italian Riviera and France!

Vlad's FASO Site:
https://www.yeliseyevfineart.com/

Vlad's upcoming Painting Cruise:
https://www.yeliseyevfineart.com/workshop/36052/painting-cruise-italian-riviera-and-france

Vlad's other upcoming workshops:
https://www.yeliseyevfineart.com/workshops

Vlad's Instagram:
https://www.instagram.com/vladislavyeliseyev/

Vlad's Vimeo:
https://vimeo.com/yeliseyev

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Transcript:

Vladislav Yeliseyev: 0:00

You always strive for the masterpiece, but you don't really design the masterpiece. So it's got to be happen naturally. So if it's Oh, in fact, the best work I've done, there was experimental work. It's just happens to be really great. Even in my eyes, I'm like, wow, that looks really not bad. But because there it feels there is a freedom over there of execution. Tightness is gone, because it's experimental. And so for yourself, you didn't really design it for the exhibition or anything. And there is that freedom, an imminent immediacy, somehow translate into interested in work. Welcome

Laura Arango Baier: 0:41

to the BoldBrush show, where we believe that fortune favors the bold brush. My name is Laura Arango Baier, and I'm your host. For those of you who are new to the podcast. We are a podcast that covers art marketing techniques, and all sorts of business tips specifically to help artists to better sell their work. We're interviewing artists at all stages of their careers as well as others were in careers tied to the art world in order to hear their advice and insights. On today's episode, we sat down with Vladislav Yeliseyev a watercolor and plein air artists who emphasizes the importance of capturing the natural beauty of a place and evoking a particular mood or emotion in the viewer. He tells us about his artistic journey, including his education in Fine Arts and Architecture at the Moscow Architectural Institute. He also explains the difference between craft and fine art. Why travel can really broaden your horizons both literally and figuratively as an artist, and how experimentation can lead to a masterpiece thanks to the liberation of expression. He also reminds us that developing your unique style is like developing your own unique handwriting. It happens with time and repetition and isn't forced. Finally, he tells us about his awesome online courses and workshops, and incredible upcoming painting crews workshop through the Italian Riviera and Frank welcome flat to the BoldBrush show. How are you today?

Vladislav Yeliseyev: 2:02

Thank you for inviting me. I'm doing great. And I'm looking forward for this interview Laura with you. Yeah,

Laura Arango Baier: 2:08

me too. I absolutely love your work. I am a huge fan of architecture actually studied architecture briefly. And I have never been able to fully, you know, leave it behind because there's just so much beauty in classical architecture. And I think your work definitely brings life to those buildings and absolutely gorgeous.

Vladislav Yeliseyev: 2:29

I thank you. Thank you. We

Laura Arango Baier: 2:31

can look at them all day. You're welcome. Yeah.

Vladislav Yeliseyev: 2:35

Nice talking. It's nice talking to an architect.

Laura Arango Baier: 2:38

Yes, yes. And it's, it's a lot easier to also understand all the technical stuff. But before we dive into your beautiful work, do you mind telling us a little bit about who you are and what you do?

Vladislav Yeliseyev: 2:52

Okay, who am I am, I'm going by name blood. That name is very common in Russia. In a Soviet Union, actually, I was born in Moscow, but it was Soviet Union. And then when I left the country for United States, it was still Soviet Union Believe it or not, it was that long time ago. It was 1989. I graduated from Moscow Institute of Architecture. And the reason actually I become an architect because it has a very good you will believe it through in school. I didn't actually want it to be an architect. I never looked into the possibility of being an architect. But when I worked I talked to the professional artists in Moscow at the time before my high education. They said that I have to probably go to St. Petersburg to Academy afford and I said I just don't not see myself in that northern city and the dorm room which is run by I don't know who and I say if there is anything in Moscow I can I can stay with and they said you know what, like this is Moscow sort of architecture because the drawing School of division there used to be part of things Peters book Academy of Art and tradition sustain its academic, it's very thorough, and you are going to draw like a god they said and that is a foundation for everything in visual arts you're going to do in the future if you don't want to be an architect.

Laura Arango Baier: 4:32

Yeah. Wow. That is so interesting. I actually was going to ask you if you if you went to the Imperial Academy because I know that the Imperial Academy and St. Petersburg their their drawings are incredible and they also have a very strong foundation which I thought your work really has as as well so I'm very well it's so cool. So I guess now everyone knows if they want to study in Moscow instead of St. Petersburg, they can go there.

Vladislav Yeliseyev: 4:57

And Lauren before that before I've entered more schools to to fight architecture, which is like in our American terms would be, would be like a high education, right? I graduated from before that I graduated from two schools, it was a regular high school. And at nights I was visiting art school. So since maybe 12, year old feels great. I entered the art school, and all my education, the initial one, the basic one, the foundation was actually not in architecture, but in fine arts, including History of Art law, and then and all that stuff. So that's what I wanted to continue in this area. And so let's go to the architecture is a continuation of my artistic artistic journey.

Laura Arango Baier: 5:48

Yeah, that is so amazing. And, you know, I think it worked out too, because like I was saying earlier, your paintings with all of these gorgeous buildings, they are breathtaking. Like you can tell that there is, you're welcome, you could tell that there is definitely an understanding and a knowledge of architecture on top of like the understanding and knowledge of painting and value and organization of color and everything that you need to make a beautiful image which you have mastered for sure. Thank you. You're welcome. Do you find that studying architecture had an effect on your work? Absolutely,

Vladislav Yeliseyev: 6:26

absolutely. First of all, they really teach you how to use the dreadful word perspective, which is now comes debt relief. And I've been I'm a teacher, now, I teach a workshops, I travel a lot. And they see how much trouble this aspect of drawing actually brings to my students. So I will always find time to teach a little bit and trust them into the perspective thing, because it's really simplifies so much. And you're drawing the the problem, which I see, which I see the work of architectural architects, which are trying to move into fine art area is that they are a little bit too accurate in terms of the architecture and the art of being an architect, and an artist includes possibility and ability to actually fly just in the way you like it. And without resorting to this dry academic presentation. And that is I think, is very important. And I talked to many architects who sign up for my workshops, they said, like, well, we are just signing up because we want to loosen up. And, and that is an area where trying to help people to, to move forward.

Laura Arango Baier: 7:48

Yeah, yeah. Because it is true that you know, the, the academic, you know, architectural drawings, they can be very beautiful. But like you said, they're definitely very dry very, here. And here it is. There's no mystery. There's no narrative behind it. So it's really wonderful that you know, yeah, and you can guide,

Vladislav Yeliseyev: 8:06

you know, why, you know, why academic academic drawings are so dry? Why? Because the drawing is actually not art. It's craft.

Laura Arango Baier: 8:17

Oh my gosh, yeah. That, by

Vladislav Yeliseyev: 8:18

itself, perspective, composition, and proportions, the way you you learn that is craft. And that is actually a great thing. I tell them to my students, because everybody can master it, everybody, you don't need really talent for that. And that is really, really worth exploring.

Laura Arango Baier: 8:36

Wow. Yeah. And you know what, that that that also makes a great point that when you have the craft of drawing, so Well, it's very easy to go from there into learning to express yourself. Which brings me actually to our next question, which is, how do you personally find inspiration? And what do you look for? And how would you recommend someone to find their own inspiration?

Vladislav Yeliseyev: 9:04

That is good topic, Laura, this is really difficult one even to answer inspiration, it is something which lives within you. And I try to travel a lot to get that inspiration. I see new things and I can actually I travel and teach in areas which is sometimes not that common. We explored Croatia we explored a different country like Czech Republic villages over there, which is not very common for us to visit just for me to look and be inspired by the scenery by different type of architecture, different light, which is very different in different parts of the globe, by the way, and when if you if you've been in Rome, for instance, have you been in Rome? Of course Laura, did you notice the quality of light over these different and sometimes you just next morning or day you outdoors? And then you been bombarded with this all reflections, luminous light on the, on the buildings on the on water on different elements. And that's actually it inspires me. And that is actually in every different painting, I try to reflect something different. I see the danger in my art is falling into, into into a trap of exploiting the my money or of painting, I try to uncover rather a different sillery depth in it. Let's say my painting from the left corner right like bridge of me, it's always my left, it's it's one type of painting with one type of rustic. The Venice is a little bit different right behind me right here. And the black and why painting on the top is also it's all of them should be executed differently according to the scenery you're trying to, to reflect. And that that difference is an inspiration is something new, you discover in the scenery, will guide you into the way you should paint it, should it be transparent, should it be created, should it be this and that approach is different. And by the way, that that classical education, I think gives you ability to give you so many tools in your at your disposal that you can exercise different approaches without resorting to repeating yourself in each of them. Now, what inspires me traveling? Yeah, traveling inspires me a lot. Yeah,

Laura Arango Baier: 11:44

and then i Ah, wow, you know, you make such a great point, too, with the you know, every place that you see and visit has its its own personality, right. And you have to pay homage to it within the work and the way that you paint it. And what's interesting too, is that just in seeing those paintings, I can still tell that they're yours, right? There's, there's no like, you know, what is so different than it could have be yours type of thing, which sometimes does happen, especially when you know, the craft becomes too high, and the artistic expression becomes too low. So I absolutely love that. And I love that painting the bruise. It is so Misty, and you can feel like you're really there. And it's like, you feel the humidity, which I love.

Vladislav Yeliseyev: 12:28

You know, Laura, let me let me just add to this that many people told me that, that they recognize my painting, but I don't recognize my mind. And that is actually possible. And so my advice would be to people who are watching us and do not chase that style of painting, especially if it's somebody else, which you like, I think everybody had to develop their own. And that is only by repetition only just like trying to express your own ideas that will happen automatically. Not just it's not it's not something which is you develop it just like your I think, Laura, I think if you look at the handwriting, every single person of us has a different handwriting. And if you will try to copy somebody else handwrite. And I don't think it's going to be a very pretty right.

Laura Arango Baier: 13:21

No, and I was gonna bring up the same exact example of handwriting, you know, because it's children. Like maybe we do learn our ABCs maybe we learn actually cursive, which I tend to use much more than regular handwriting. And over time, it does take its own shape, and then it becomes recognizable. So it is very much that repetition. It

Vladislav Yeliseyev: 13:40

happens naturally. Right? It does, yes.

Laura Arango Baier: 13:43

Because your your anatomy, you know, you have a certain way that you have to be comfortable with, you know, writing. So yeah, that's a wonderful point to make. And it also takes the pressure off. You know, there's so many people out there trying so hard to find yourself trying to try something new that maybe doesn't even come naturally to them. So it's wonderful advice. Just say just just keep repeating. Just keep going. And it'll it'll come out on its own. Perfect, we'll

Vladislav Yeliseyev: 14:11

definitely will. Yes.

Laura Arango Baier: 14:14

Yeah. And then the other thing that I wanted to bring up that, that I absolutely love, is that you mentioned in one of your either one of your blog posts, I think, yeah, one of your blog posts that you take a lot of inspiration actually from the Less Traveled alleyways and the more discreet areas of especially popular locations, like for example, Rome, like you mentioned that you like staying away from the fountains, for example, because they're already, you know, a work of art on its own. So there's no point in recreating it. And you also mentioned in that article that I absolutely loved is that to also tell your students to seek out those places that inspire them as well which is really, you know, it That's all you can really do. But why would you pick the alleyways instead of you know the quote unquote prettier areas?

Vladislav Yeliseyev: 15:10

Well, I think that alleyways in a way more natural to the character and then more common for the folks who lives there. If you look at the art of the of the great masters in the museum's you rarely see landmarks there, all these places, they depict typical places and not say like alleyways with dumpsters in them. One on top another which texture happening all the time with me in my group plays right now rainbow kind as could be, could be a dumpster, not really nice smell and everything but the view my god view. And that also, sometimes it's I'm not looking for other ways, I'm looking for the views which are reflect True, true nature of this of the scenery I'm trying to depict. And as I said, like like a full Darbar or some, it's just not really typical. It's a landmark. That's it's a touristy places, though, those places are very clean, they're very polished. They're very nice. I don't know, there is kind of comfortable. And there's but that's not the like folks in Paris seen every time. And the Parisian person, I would say, if he will, if I would live in Paris, right, for instance, for a couple of years, three years, then I can call myself like, or almost like Parisian. And I've walked the streets, hey, I'm going to buy my, my bread, I'm going to the store, I'm going to the to do this, and this, I'm going to guests, I'm not looking at a full tabular anymore. It's just there, I have no really reason to look at it. I'm not the tourists. And that's what areas I'm looking for the natural places, which are really significant for the each and every town and city. To depict in my paintings, I would like to uncover also the look and the view at the scenery, which is a discovery somewhat, not like what people would expect from you. But you will, I would like to find something which opens their eyes. Look, you've never looked at it. But look how beautiful it is. It's simple, unpretentious, and at the same time, people are sort of moved by it. With that sense of being there, which is by the way, only fine art can can deliver, as opposed to decorative art, which is all different target kinds of things, to decorate your home, which is wonderful thing, but the fine art, I think it's like a look into the depths of the scenery and given mood of it. And that is very, very important. I think for me personally, because I decided that I'm doing and try I'm trying to do fine art, which is more than meets the eye. Yes, in the painting.

Laura Arango Baier: 18:16

Definitely yes. You know, I like to compare, you know, fine art to writing a novel or poetry because it goes beyond just, you know, like a dictionary, for example, right? A dictionary just tells you the meaning of things. And this is what it is. And that's it. But with painting, you know, we're always striving to create something more, of course, like you said, you know, decorative art is still beautiful, and it still has its purpose, it still has its, you know, its collectors and the people who prefer it. But of course, with fine art, we have a different target audience. And we have a different way of reaching out to our ideal collectors, which brings me actually to a couple marketing questions I wanted to ask you. And the first one I wanted to ask is actually how do you personally use social media and other online platforms to promote your work and connect with your potential customers.

Vladislav Yeliseyev: 19:09

Without social media these days, would be impossible to function for any artists, they think finding the social platform, which is really in line with your vision, which is really can deliver what you're asking for from it is very, very difficult and important. And in fact, I'm happy to work with BoldBrush because it is look like very, very easy to use the platform, which allows me also connect to different other platform, just posting the links over there, and everything beautifully organized in that in that in that web web page, which I'm using right now. In fact, I After the call during the COVID, before the COVID, Marina told me, Marina is my wife, and she is actually taken care of this, which you asked me. So the questions about promotions and social media, and you won't believe it before the COVID. She said, Hey, have a look at this company. It's called Zoom. And I'm like, I don't know, it's great. Okay, I will someday. Now during the COVID, Zoom is everything. And it's actually really, really was so important to being delivered the content, classes, information on zoom just to get together, which is absolutely was impossible to do 10 years ago, with such an ease. And right now we are talking to us in zoom, as well. And that is just a testament that we are moving into a new realm, which is impossible to ignore social media at all. And that's how people actually find out I'm so glad that we have social media, in fact, because before that, I would just think and what would a talented person and artist sculptor poised to deliver to deliver product for the wide audience, and it was next to impossible. And right now, it's so easy. It's just unbelievable. The progress, which was made during this last five years is unprecedented. Yes,

Laura Arango Baier: 21:34

yeah. It's all thanks to the internet connecting everyone. And of course, you have a lot of online courses. And you actually, I saw that you have your own school, which you have your mentorship and you have your online students. And I think that is so amazing. Which, you know, it's it's great to reach out to people abroad and to meet people, you know, from everywhere. I mean, it's kind of like you and me right now. We're completely different countries, and we can still have a conversation about painting and about which

Vladislav Yeliseyev: 22:02

is amazing. Absolutely. Right. Yes, yeah. And

Laura Arango Baier: 22:05

I'm so grateful for zoom, I know, the pandemic was terrible, but zoom definitely, I also use Zoom during the pandemic, to take classes and to complete my education, and of course, Instagram and all of these things to continue to research and to, you know, find that inspiration that you know, helps you grow, which of course, your your Instagram page is huge. You have tons and tons of followers and with you know, with, with great reason to because you have gorgeous work on there, which I totally recommend our listeners, and the people watching us to go check it out. Because Wow, it is definitely a place where everyone can be inspired.

Vladislav Yeliseyev: 22:44

This yellow sea of fine art.com Right behind me, you can see it. That is where if anybody wants can find out every information on about me in my classes. Also, I'm using Vimeo, by the way, that's another platform, which is connected to you to usa.com. And those Vimeo has all my recordings, almost everything I have done online teaching recorded in a great quality, and it's posted over there. So if somebody's interested, you can go five year old five, maybe I don't know when it started five years behind and find the video to their liking.

Laura Arango Baier: 23:25

That was awesome. I'm gonna go check it out. And of course, it's

Vladislav Yeliseyev: 23:28

impossible to do before, right? Yeah, that's true.

Laura Arango Baier: 23:31

That's very true. And of course, I will include all of these links in the show notes, so anyone can just go check out the show notes and go click over there while we're still chatting. Up BoldBrush We inspire artists to inspire the world, because creating art creates magic, and the world is currently in desperate need of magic. BoldBrush provides artists with free art marketing, creativity and business ideas and information. This show is an example. We also offer written resources, articles and a free monthly art contest open to all visual artists. We believe that fortune favors the bold brush. And if you believe that to sign up completely free at BoldBrush show.com. That's BOLDBRUSH show.com. The BoldBrush Show is sponsored by FASO. Now more than ever, it's crucial to have a website when you're an artist, especially if you want to be a professional in your career. Thankfully, with our special link faso.com forward slash podcasts, you can make that come true and also get over 50% off your first year on your artists website. Yes, that's basically the price of 12 lattes in one year, which I think is a really great deal considering that you get sleek and beautiful website templates that are also mobile friendly ecommerce print on demand in certain countries, as well as access to our marketing center that has our brand new art marketing calendar. And the art marketing calendar is something that you won't get with our competitor. The our marketing calendar gives you data A step by step guides on what you should be doing today, right now in order to get your artwork out there and seen by the right eyes so that you can make more sales this year. So if you want to change your life and actually meet your sales goal this year, then start now by going to our special link faster.com forward slash podcast. That's FASO.com/podcast. Um, oh, wow. Yeah. And then aside from you know, reaching out to people outside of where you live, I was wondering, because your school is also based, you know, around where you live? Is it a physical location? Or is it just your studio,

Vladislav Yeliseyev: 25:36

it's a, I go open the art school. in Sarasota, it used to, it's called Renaissance School of Art. The idea was that I realized looking around the young people craving to find a good education. And it's actually hard to come by with the myriads of students, et cetera, et cetera. I decided that I have, I can bring on the table, something which I was actually taught. And we're again, talking about the drawing, it started as my idea is about to help young people to draw correctly. And it was quite successful then. And then I had classes with painting because it was expanded. And then I realized that I can help now adults and students to see colors better. In fact, there was an article in plein air magazine, we just came out, it's called the primaries and water column. And it's just was like January issue, and that, I come up with an idea in that school with a theory how to simplify this whole process dealing with scholars. And so it was growing and growing and growing. And then it's all stopped because I had to start to travel. I started to travel, participate in in paint, paint out all over America. And internationally, I started to teach. And I could no longer attend as like, as much as I wanted to, to my students. So we decided to close it. And then at the same time, we decided the alternative way would be social media, in fact, and so it's continuous now, as Renaissance School of Art is just online, so to speak. So basically, I think it's easier for people also to get in touch with me because you don't have to really buy airline tickets, you don't have to rent, you know, a car, you don't have to rent a place a hotel over there. And you just from the comfort of your studio, you can participate with me in very, very interesting activities as well. I can teach same things on Zoom. And in person in person, the difference only, of course, and I just came back, like two days ago I was teaching is that I can when I teach I walk around, I look what you do, and I point my finger exactly to the place in your painting. When to say we need to change this, we need Oh, this is great. Or this is needs to be improved. Or just you need to finish this area. And that is Zoomcar to do because you don't see it naturally what they do, but we do most of the time, critic after the session. Yes, so people can show their work, send it to me by email, and I can share it with everybody. I can even draw with special tools right on Zoom, or right on top of them on their paintings, without touching them, of course, physically and point to certain areas. And this is extremely effective educational educational methods, which I have no intention to stop. Yeah.

Laura Arango Baier: 28:52

Oh, that's so awesome. Yeah, cuz I saw that your school it was physical at one, one point. And then when I checked, you know, it looked like it was mostly online, which I completely agree. I think we

Vladislav Yeliseyev: 29:03

were trying to keep it alive we would find in teachers, we were hiring teachers, but then seeing what they teach sometimes I said, You know what, it's probably it's probably not what I want my students to learn. And so or there are many many nuances over there. So and this and that it's a lot of energy of yours going into areas when you run physical school. I'd rather want to paint you know, yes, yeah. Yeah.

Laura Arango Baier: 29:38

Oh, all of that. Yeah. It's so much more comfortable. And also for the people themselves, like you were saying, you know, they're saving on gas or saving on trips or saving on hotel they're saving on a lot of other things they can actually just put into, you know, buying the course of course and also in buying materials and being able to, you know, set something for themselves which is a lot more comfortable

Vladislav Yeliseyev: 29:59

and when We're talking about face by face teaching, like in hand teaching that that travel and still stays. So we traveled different countries. And that's in person, of course. And that is, that is not Sarasota art school wouldn't be able to deliver or Zoom is not able to deliver. So this is very important for us to continue to travel in different countries.

Laura Arango Baier: 30:26

Yes. On top of that, yeah. And to top that off, though, if you still have your your students, you can still travel right, and still talk to your online students at the same time. So there's a really nice balance where you don't feel like you're just stuck to one place and you can't go. So that's wonderful. is absolutely

Vladislav Yeliseyev: 30:44

correct. Laura. Yes. Yes. Being being open and being you know, open the box and get out from your box and, and the open opportunities is very important for us. So we're always looking for the new venues, and how to deliver them. In fact, the final thing is that we are going soon, and I couldn't believe myself book on the Mediterranean cruise. Oh, yeah. Yeah, I'm getting students for Mediterranean cruise Italian Riviera, in France. And that is on Celebrity cruise. Yes, I know. I know. But we already experienced because in this area, because we, six years ago, we were on the cruise and we went to Havana, but it was open. That's right. You stay on the boat. You have everything there and then you venture into the town and paint them. That was an amazing trip. I still remember that. Then the cabana closed of course. No, no cruises now going there. But that was very, very interesting for us.

Laura Arango Baier: 31:57

Yeah, especially architecturally and and of course, like you were saying earlier with the light right the way that the light just behaves with the buildings there because of course those buildings are they have they have their their charm and they have their their you know, their style that is very particular to Havana. I've only been able to see pictures of course, but I can only imagine how how wonderful it is to capture that

Vladislav Yeliseyev: 32:18

in Mason's it's, it's used to be amazing city, you could tell now it's in despair. But the architecture is second to none, Laura, so when, if any time it will be open, jump into this window and just have a look at Havana because it's an amazing town, city or sound. I don't know what to call it. And you would be amazed just to look at the I always say it's like if you if if it's a family, and the mama would be Paris and the Papa would be, I don't know, maybe a Spanish city. That would be their child. It's like it's it's weird. It's weirdly beautiful. And for us because it's in despair. It's actually very interesting to paint. You know this whole paintings like ruins of masters we're talking about 60s 16th 17th centuries they were painting the ruins and despair and this columns seven like like we're talking about Roman and Greek sceneries, but that is now what's going on Havana. So it's very good for you to identify and know that photographers like the Havana backgrounds for the for the R two. That's so weird. Interesting. It is. So Mediterranean cruise. I hope it won't disappoint. It's like his nine stops. And it's we're going to paint a lot.

Laura Arango Baier: 33:44

Wow, that sounds incredible. That sounds like

Vladislav Yeliseyev: 33:47

to get the inspiration there.

Laura Arango Baier: 33:49

Oh, yeah. Yeah, I'm sure you will. Those are all gorgeous, gorgeous areas, especially if you're going to be in any part of Italy really or any part of, you know, the Riviera. There are a lot of those beautiful little alleyways and a lot of those little picturesque or characteristic spots outside of course, the the typical touristy areas. I actually wanted to ask you, do you have a favorite place that you've been to that you've painted

Vladislav Yeliseyev: 34:19

to this day? Today's day that changes over time, but to this day, I took a again, the old video with Marina just drags me onto these boats and takes me all over the world. And the light the latest weirdly and use an absolutely stunning the place I was was in Cartagena, Colombia.

Laura Arango Baier: 34:40

Really?

Vladislav Yeliseyev: 34:41

I know. Yes. I couldn't believe it on a boat. People told me don't go outside. It's dangerous. I said I'm going no matter what I took a cap. I went to the kurta Ghana which is about 15 minutes drive from the airport or from the port seaport. And then when I what I saw over there was my In blowing, it's absolutely gorgeous. Save gorgeous, colorful flowers everywhere. Impeccably restored buildings. It's this in the old walled city and I've got so many inspirations all I get for the next month is painted character again. That's it. I painted over their printer to wow,

Laura Arango Baier: 35:22

that's awesome. I forgot to mention this but I'm actually from Colombia. So when he said that I was like very surprised because I went to Qatar when I when I was very little girl and I remember it being such a beautiful old style city, especially the fortress fortress. Yes.

Vladislav Yeliseyev: 35:39

That's what I'm talking about. Yeah, the warm the world. Yeah. So if you will have a chance to visit again. And you will it's it's it's I don't know what it used to be. But it's still beautiful. The live thriving over there. Lots of young people from Europe, from America with their coattails. Lots of services, people selling fruits and vegetables, right on the streets and it looks amazingly fresh. It's so plain to you like in a paradise. That's my impression of the place. It

Laura Arango Baier: 36:08

is. Yeah, you're actually making me feel pretty homesick. Got it that hiddenite Isn't my hometown. I'm actually further inland

Vladislav Yeliseyev: 36:19

in the north and city, Norway, okay. Yes, that is absolutely opposite, I guess. Right? Yes,

Laura Arango Baier: 36:29

yeah, I mostly grew up in the tropics. So it's a little bit different up here, for sure. But wow, that is amazing. You know, it's, it's so cool. That also, you know, with all of your traveling, you get to really capture all of these different places. And you know, every place has its own personality and its own just like you said, you know, the sun just hits different in each place. And I feel the same way whenever I visit places.

Vladislav Yeliseyev: 36:55

You know that in insects Peters book Academy and forth before revolution, that SARS, they were very big patrons of arts Bidart collecting it. And they were metocean. In at the end so in, in, in St. Petersburg right now. And they're in every year, their gold medalist from gold medalist from a St. Petersburg Academy of Art. They were sent for five years to Italy, study all the Masters in paint their every single expense taken care of everything pays canvases, food, lodging, and travel and everything. That's how all times SARS, could understand the importance of that, and the huge patterns of their data still amazes me when I'm thinking about it. We don't have them understand. Now we are on our own, but thanks to you guys, but getting a great help, by the way. Yes,

Laura Arango Baier: 37:57

yes. And and also, you know, that also brings up the importance of you know, travel, especially as an artist to really broaden your horizons. I know not everyone can travel. And thankfully, like, you know, we were mentioning there's zoom, which makes things a lot easier. But I think for anyone out there, you know, traveling and seeing the world and getting inspired by it is so important. Especially Italy, actually. Yes, Italy is such a it's such a cradle of art, and has been for such a long time. That's right.

Vladislav Yeliseyev: 38:29

That's right, Laura. Yes. It's very, very, very interesting. province in France and Italy. He's He's a Yeah, it is our foundational, foundational areas where probably we can learn a lot from the painters from the history from the architecture. And that is important to the only thing which is, which is hard for me now is just a builder so many times, I need to explore different places. Again, there's one of them.

Laura Arango Baier: 38:59

Yes, yeah. And the world is quite big. So you have a lot of places you could go anyway. I mean, you can't really see the whole world in one lifetime anyways, so

Vladislav Yeliseyev: 39:12

I didn't go but I hope to see you in the future.

Laura Arango Baier: 39:15

Yes, definitely. And I guess I wanted to ask you, is there a common mistake that you feel many artists make especially when they're trying to become a living artists, you know, someone who lives from their work? What mistake do you think is the most common that you've seen

Vladislav Yeliseyev: 39:32

mistake of copying somebody who already touched the subject? And I see that it's a it's a very common for the artists to like somebody and then trying to be that person, which is a huge mistake. First of all, I think we lost another painter, because we lost your personality already, which probably would be developing and that's a client of I feel you is marching in the wrong direction. Also paying attention too much to the form of presentation versus that versus expressing the depths of it in any form copied in or not, that is also a big mistake that will come naturally one more time, or jumping too much into decorative aspect of visual arts, because it's a totally different profession, decorating for art and fine art. It despite we're using the same instruments, it is two different activities, and they are have different targets, different approaches, different business model, by the way, too, of selling art. So I would say that is I would say, number one mistake and of course, thinking that you will learn everything, and you just need to paint and sell that notion is also wrong, because you're always learning. And there is should be a portion of work, which is sort of experimental, and designed just to increase your level of, of mastery, and that is ignored most of the time, against exploitation have already found some techniques and or presentation, presentation forms is a big, big stopper in developing of everybody's who is trying to get better, I would say that this needs to be taken care of Engraving and hard look on that kind of things.

Laura Arango Baier: 41:38

Wow. Yes, that is very true. You know, it's very easy for us to get comfortable, you know, with just doing the same thing over and over. And, and it becomes especially when you're working, for example, with galleries, you know, they have a certain expectation of what the artist would be taking to them. versus, you know, allowing yourself that x experimentation and to make mistakes, I feel like so many of us, we have this internal fear that every single painting should be a masterpiece, instead of just remembering that it's supposed to be you know, an exercise, it's supposed to be an exploration. You

Vladislav Yeliseyev: 42:16

always strive for the masterpiece, but you don't really design the masterpiece. So it's got to be happen naturally. So if it's all in fact, the best work I've done, there was experimental work, it's just happens to be really great. Even in my eyes, I'm like, wow, that looks really not bad. But because there it feels there is a freedom over there of execution. Tightness is gone, because it's experimental. And so for yourself, you didn't really design it for the exhibition or anything. And there is depth freedom, and email and immediacy somehow translate into interesting work. Yeah.

Laura Arango Baier: 42:57

Oh, my gosh, yes, I would, I would love for you to say all of that again, just so I could hear it again. Because it is so wise, it's so true. You know, there is a liberation that happens when you experiment there is, you know, like, the psyche just breaks free from all of these constricting, you know, rules that we placed upon it arbitrarily, right, like, oh, the gallery wants a portrait. So you do a portrait versus, you know, one morning you wake up and you see a person and you say Ha, there's something I want to capture there, right? That's very different. Those are two very different approaches. You know, one feels like a job the other one feels like almost like a celebration of the capturing of life and the essence of life, which is a lot

Vladislav Yeliseyev: 43:40

longer. Yes.

Laura Arango Baier: 43:44

So I wanted to ask you, how can someone become one of your students

Vladislav Yeliseyev: 43:50

you can you can contact us at USA fine art.com Over there, there is a contact information and have a look at our schedule and just sign up. We have our materials please the everything is there. You but before you will become a student student, you might just want to purchase a small workshop, or even paint along that was something we're doing all the time. Or paint alone. Yeah, every week, we now don't do that I travel again. I'll come back because it's a four sessions in the in the months, every Sunday. And just have a look and see Do you really like what I do because I have very, I think specific specific mindset about what needs to be done, why needs to be done and what to try to achieve in the in the inner work again, commercial aspect of my work is less probably item on my checklist. When I do something. I'd rather do something which is natural and which isn't Oops, me as we talked about that already, and then I hope for the best results. And sometimes it's happened, sometimes it's not. So when you will become my student is going to be is going to be a lot of learning experience, by the way, it's not just you know, and those have workshops. And if you would like to paint along with me those pains alongs, we will continue in, in, I think it's going to be in July, we'll continue this. And it's very affordable, in a very relaxed, sort of venue, wherever anybody can just try, you know, and and see, how do they like it. So that's how it is. And so, again, using social media medium, it's very easy to get together. And if all it requires is desire on the part of the students to to become one and it's really easy. Everything designed on that website, you will say fine, art.com, which is run by BoldBrush. By the way, everything designed to make it really, really easy for the people to get in touch. Yes,

Laura Arango Baier: 46:09

I completely agree it is extremely easy. And of course it showcases your work absolutely beautifully. One more

Vladislav Yeliseyev: 46:17

time you say that Laura, I'm going to start blushing, then you will see my face very red, then you are aged. I'm just kidding. It's okay. Thank you very much. Thank you.

Laura Arango Baier: 46:30

You're welcome. Yeah, I mean, your work is absolutely gorgeous. So I actually want to go back to your website and just look at because it is so inspiring. I you know, that's the other side of seeing someone who works in the way that you do, you know, works from a place of exploration, but also, you know, that balance of technique and trying to capture things is it it's inspiring to look at, you know, it's not just beautiful, it's like, Ah, wow, this is so refreshing.

Vladislav Yeliseyev: 46:58

In fact, many students, they told me that after the workshops that they are having desire to do it again. And I said, then that's what it's all about. And in also, also, on our workshops, I always say that, it's the last thing on my mind. So you would leave the workshop 234 days with a beautiful painting. The first and most important thing that you leave with a with a with a next level of mastery. And that's what it's I designed my workshops about this to make you a better painter than you were before. Because the next time you're in alone in your studio, the workshop is over, you have to be able to do something better without me in your on your back was looking over your shoulder and telling you what to do. And that was everything is designed on my part. So to really, really to educate painters in very important aspects of the development I look for individually for every one of them and work with them individually, just to be just the next step. From that step to next step. In fact, I just read about left Vigotsky, one of the when I was talking about this before workshop, one lady next day, put a papers she printed out on my table in the morning, next second workshop, it was about Lev Vygotsky. And he had a theory about what his teaching is all about. And it says that the peers is mostly for children, but it's actually also related to us that the teacher should be there should understand the student and deliver just enough information, right beyond that, for that to be capabilities in order for them to make a progress. And that's what actually I was without even knowing that guy. He was he died already. It was like a book in about 19/20 century educator. And that's what I was doing all along, actually without even knowing they're not like, Oh, now I know what I'm doing. Okay. All right, at least I know, there's somebody already, you know, we wrote papers about it. And it's called the method of scaffolding. If you will Google it, you will probably find out more about educational process, which in my part, in my opinion is very important because I teach a lot so much that the worst thing I think I'm going to be gone and all my knowledge will be go away. In fact, if you think about it, I started my education in in when I was 12. And now I'm 63 We're talking about 50 years in arts. That is crazy. But I started thinking about a time like that is crazy amount of art and art education in my life. So everything was around, all about and around that even article textural warning because architects we know, it's it's an art in parties. So very

Laura Arango Baier: 50:05

Yeah. Wow. Yeah, that's that's such a great point that, you know, the scaffolding thing, right where like you have to, you know, bring the student to this level before you can take them to this level of in this level, you know? Exactly. Yeah, because, of course, like you just said, you know, one day you won't be there and you're not going to be in their studio, you're not going to be holding their hands for every painting. So they need to figure things out on their own. And I think it's wonderful that you build your program in that way. Because there's, there's nothing better than to give someone that freedom to continue on their path, you know, without the hand holding and without having to be there. That's awesome.

Vladislav Yeliseyev: 50:43

In fact, I'm writing a book right now. And a couple of the articles I sent to magazines, they were printed immediately. One is plein air magazine, another watercolor artist, which printed in December and I have certain eight more to publish. So so that is kind of this time for me to sit down and write something so yeah, yes,

Laura Arango Baier: 51:10

yes, well, let me know when you write it because I will buy a copy. It sounds like it'd be full of absolutely wonderful information. So do you mind telling us where people find can find more of your work do you have a gallery that you use galleries,

Vladislav Yeliseyev: 51:27

I don't involve that much anymore because I'm not gonna just you know, it's just it's just, I found that from my website, you'll see fine art.com It works much better. Everybody can have a look, the prices are you need to triple the price for the same art to get in the gallery. And that is kind of sensitive for people who would like to have something just off the bat I say we do not sell no prints, it's only originals, but we do every year print calendars. And that includes 12 or more maybe 14 works which which is good the obtainable you can obtain from the website. We're out now for this year so next year will be again and that is the only printed material to sell. So also the me and Rosemarie brushes if you know them, they're in England not far from you. By the way Laura, we developed a set of brushes for watercolors, and you can also find them on my website so there are different brushes people love them and I all the time I'm just out of they're out of stock but now we're going to get a new batch my friends finally so last last workshop I traveled with just a few because everything is gone. So on that website USA fine art.com There is a really a lot of information very nicely systemized everything is very easy to find everything. And then from there you can then now galleries. I had I had two galleries in my town in Sarasota at one time, which is illegal, but we're talking about it's very rare because they compete but it just happens that way. But the galleries now come and go, the galleries I noticed now they have more like a decorative stuff because people now buying properties Sarasota become very, very, very successful. Very popular in destination. We have lots of new buildings Candace building up in downtown and people of course would like to decorate them and I think the galleries if you go to the gallery in Sarasota, it's a really good place to find the work you like. But again, how people would like say on my left right to find that work, how would they see it in their interior design? I'm not sure. I knew that Mona Lisa was once hanging in the bathroom of one king, but that is probably was very highly educated king so Okay, Mona Lisa, over there. So I don't know. If I would do more commercial work like decorative artwork. I would probably have a lot of galleries but I don't see the reason I have one in eastern it's called tweaker wonderful gallery by the way very good art over there. And we work with them but more than one I just this two galleries in Sarasota. They close now they're in their place different galleries and just to keep going and renewing contracts with every gallery you want you want is actually I find it pointless and most important, I really would like to have time to actually paint. I paint I scan the painting I posted on my on my Ulysse fine art.com website and then done Oh Moving on to something else, galleries, and then or teaching galleries unless it's also a lot of work. You know, strain and this and that. And so yeah. So galleries blindly. Yeah, galleries they are. But again, the big gnomes right now, you see what I mean? In fact, that's what I actually said. They told us at the architectural school, they said, Hey, kids, kids, right? They said, something you need to know about art, there are really three areas in Arts where we're human humans involved, traditionally, historically, during the development, one is craft, and not a decorated world and the last one fine art. And they said, the fine art basically, if you think about nobody needs, because it's not easy to decorate your housing and dwelling with this kind of art, it might end up in a museum after you die. We know that, but but before that you are being designated a starving poor artists. And if we look at the history of art, Laura will look at the history of art. From the old great masters, we probably know three or four, who were well, the rest were really, really, really in need for food even. So, you know, Impressionists were sometimes three that their paintings for the for the lunch, and it's written. And you can imagine having now this painting, I would read my lines for interest in this painting. So it's kind of that brings, which gives you what I think what education gives you, it's a perspective insight into why why you're here, what you're doing what to expect. And that gives you ability to sort of live within that framework, and you will be able to kind of like structure, your next move, which is wisely and without any extra, you know, expectations, and realistic ones especially. And that is also a problem, people just want to everything. And now, you know, as opposed to just slowly going in the right direction, and never give up. That is very important, by the way for beginner beginner painters, to, to, to sort of know what you want, and just march in that direction. That is that is really, really important without going sideways, you know? So like,

Laura Arango Baier: 57:39

yeah, yeah, that's, that's very true. You know, there is a big difference. You know, today, I think, you know, a lot of people, I would also blame social media, that everyone is just so focused on the instant gratification, and everything just seems like it's going faster and faster. And there's like this pressure, this social pressure almost to, oh, you have to post this painting, and oh, but my paintings take long, you know, like, there's, there's this, almost like disconnection that's happening between the real slow life takes its time, you know, you plant a seed one day, and it's not going to grow until, gosh, a whole season. Right? So I feel like, yeah, the type of painting that that you do, and the type of painting that you know, is successful is definitely the slow growing type. So yes, exactly. Yes. Yes. Well, thank you so much, flad, for your amazing advice. And West. I'm so happy that you were on the show. And that you were able to give us some of your precious time, because I know you're quite busy, to hang out with us and to tell us all about your amazing work.

Vladislav Yeliseyev: 58:47

Thank you. And thank you, Laura. And again, I repeat, it's very, it's a pleasure to be in here with you. I think that these conversations are very, very important. And I would like and I hope to do it again sometime in the near future.

Laura Arango Baier: 59:01

Yeah. Well, thank you.

Vladislav Yeliseyev: 59:04

Thank you so much, Laura. And go visit carta Ghana. You won't regret it. Yes, I have to go back and take your boyfriend there.

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The BoldBrush Show. Interviews with today's finest artists and creatives. Watch here or listen on all major podcast services.