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Stasenko Evgeniy

Evgeniy Stasenko
(1958- )
Nationality: ru Russia


21 artworks   Artistic domains : Painting

When I studied at preparative course at Lenin Pedagogical College (1978) I met Dibir Izrailov, my first teacher, who both taught me drawing, painting & composition and helped me to form the attitude to the fine art. It was the first impulse, which set the direction of future progress. As well, I consider Mikhail Rudakov as my teacher - although he himself did not teach me. I saw him only once, in his studio in 1983, when I studied at Moscow Pedagogical College. The impression of his paintings and his personal qualities still remain indelible.
I've always been interested in the work of color. Although I have paid tribute to the graphic arts at the time, painting remained the main focus of my creativity. Impressionists and Post-Impressionists were always the benchmark for me. They discovered painting as a work of color. Before them, color in a painting was secondary.
In 1985 I started to participate in art exhibitions. Together with friends we formed a creative association with a mysterious title Khudozhnik-Turist (painter-tourist) and exhibited our paintings & drawings in Hotel Izmaylovo Art hall, Moscow.
During first years of my creativity I quite sincerely worked with nature in a realistic style, being bewitched by the mystery of the birth of whole worlds on a canvas plane. But then a threshold of saturation came and it turned into a crisis from which there seemed no way out. The situation demanded utmost honesty. And the decision was unequivocal: the painting came to an end, and there was only way to accept that and to live, engaging in something different.
The result of refusal to paint was maturation of something new that did not have any name or form at first. Ironically, after a while, it turned to be the painting. But the painting style differed a lot from the previous one. Images were coming by themselves, urging embodiment of maximum precision. "To invent", "to make a creative interpretation" was out of question. The only possibility was to help an image to be in its own way.
There is a similarity in the meditation, in the concept of a "non-action". The meditation includes the ability to "not to interfere". This implies the rejection of any ambitions, desires, personal motives. Man should be "empty" because, as they say, only an empty flute may produce a sound. The meditation does not mean immobility. The main condition is the lack of concept of the identity, or "the acting". Then, without effort of the will, any action may happen, and this action comes from emptiness.
1988 was the year of my creative birth. What I call 'my' painting style now, first appeared on April, 30. Since then I have participated in many exhibitions. Among them, several exhibitions and auctions in Europe: La Tradition Russe auction in Paris; Die Kraft der Stille in Hildesheim State Art Museum; Art-Kontor in Contemporary Art Museum Frankfurt, to mention a few.
For over 25 years I’ve been teaching fine arts in the art studio on Baumanskaja Street, Moscow....
When I studied at preparative course at Lenin Pedagogical College (1978) I met Dibir Izrailov, my first teacher, who both taught me drawing, painting & composition and helped me to form the attitude to the fine art. It was the first impulse, which set the direction of future progress. As well, I consider Mikhail Rudakov as my teacher - although he himself did not teach me. I saw him only once, in his studio in 1983, when I studied at Moscow Pedagogical College. The impression of his paintings and his personal qualities still remain indelible.
I've always been interested in the work of color. Although I have paid tribute to the graphic arts at the time, painting remained the main focus of my creativity. Impressionists and Post-Impressionists were always the benchmark for me. They discovered painting as a work of color. Before them, color in a painting was secondary.
In 1985 I started to participate in art exhibitions. Together with friends we formed a creative association with a mysterious title Khudozhnik-Turist (painter-tourist) and exhibited our paintings & drawings in Hotel Izmaylovo Art hall, Moscow.
During first years of my creativity I quite sincerely worked with nature in a realistic style, being bewitched by the mystery of the birth of whole worlds on a canvas plane. But then a threshold of saturation came and it turned into a crisis from which there seemed no way out. The situation demanded utmost honesty. And the decision was unequivocal: the painting came to an end, and there was only way to accept that and to live, engaging in something different.
The result of refusal to paint was maturation of something new that did not have any name or form at first. Ironically, after a while, it turned to be the painting. But the painting style differed a lot from the previous one. Images were coming by themselves, urging embodiment of maximum precision. "To invent", "to make a creative interpretation" was out of question. The only possibility was to help an image to be in its own way.
There is a similarity in the meditation, in the concept of a "non-action". The meditation includes the ability to "not to interfere". This implies the rejection of any ambitions, desires, personal motives. Man should be "empty" because, as they say, only an empty flute may produce a sound. The meditation does not mean immobility. The main condition is the lack of concept of the identity, or "the acting". Then, without effort of the will, any action may happen, and this action comes from emptiness.
1988 was the year of my creative birth. What I call 'my' painting style now, first appeared on April, 30. Since then I have participated in many exhibitions. Among them, several exhibitions and auctions in Europe: La Tradition Russe auction in Paris; Die Kraft der Stille in Hildesheim State Art Museum; Art-Kontor in Contemporary Art Museum Frankfurt, to mention a few.
For over 25 years I’ve been teaching fine arts in the art studio on Baumanskaja Street, Moscow....


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Evgeniy Stasenko's biograthy

Evgeniy Stasenko's biograthy


When I studied at preparative course at Lenin Pedagogical College (1978) I met Dibir Izrailov, my first teacher, who both taught me drawing, painting & composition and helped me to form the attitude to the fine art. It was the first impulse, which set the direction of future progress. As well, I consider Mikhail Rudakov as my teacher - although he himself did not teach me. I saw him only once, in his studio in 1983, when I studied at Moscow Pedagogical College. The impression of his paintings and his personal qualities still remain indelible.
I've always been interested in the work of color. Although I have paid tribute to the graphic arts at the time, painting remained the main focus of my creativity. Impressionists and Post-Impressionists were always the benchmark for me. They discovered painting as a work of color. Before them, color in a painting was secondary.
In 1985 I started to participate in art exhibitions. Together with friends we formed a creative association with a mysterious title Khudozhnik-Turist (painter-tourist) and exhibited our paintings & drawings in Hotel Izmaylovo Art hall, Moscow.
During first years of my creativity I quite sincerely worked with nature in a realistic style, being bewitched by the mystery of the birth of whole worlds on a canvas plane. But then a threshold of saturation came and it turned into a crisis from which there seemed no way out. The situation demanded utmost honesty. And the decision was unequivocal: the painting came to an end, and there was only way to accept that and to live, engaging in something different.
The result of refusal to paint was maturation of something new that did not have any name or form at first. Ironically, after a while, it turned to be the painting. But the painting style differed a lot from the previous one. Images were coming by themselves, urging embodiment of maximum precision. "To invent", "to make a creative interpretation" was out of question. The only possibility was to help an image to be in its own way.
There is a similarity in the meditation, in the concept of a "non-action". The meditation includes the ability to "not to interfere". This implies the rejection of any ambitions, desires, personal motives. Man should be "empty" because, as they say, only an empty flute may produce a sound. The meditation does not mean immobility. The main condition is the lack of concept of the identity, or "the acting". Then, without effort of the will, any action may happen, and this action comes from emptiness.
1988 was the year of my creative birth. What I call 'my' painting style now, first appeared on April, 30. Since then I have participated in many exhibitions. Among them, several exhibitions and auctions in Europe: La Tradition Russe auction in Paris; Die Kraft der Stille in Hildesheim State Art Museum; Art-Kontor in Contemporary Art Museum Frankfurt, to mention a few.
For over 25 years I’ve been teaching fine arts in the art studio on Baumanskaja Street, Moscow. The story of what later was named Baumanskaya School of Painting began here. It includes such artists as Sergei Dorodny, Nadezhda Kalyagin, Boris Norshtein, Sergei Ovsyannikov, Konstantin Sutyagin, Svetlana Sutyagin, Alexander Shevchenko.