Nathalia Chipilova discovered her vocation as an artist at a very young age. At the age of ten she began her artistic apprenticeship in a good drawing school in Moscow since her parents worked there. At nineteen, she flew to France and continued her studies at the Avignon School of Art before joining the National School of Decorative Arts in Paris. At the end of her studies, she moved to the south of France to practice her art. She exhibits regularly since 1999 and works in her studio in Fréjus opened in 2001. More than 1000 works are present in the private collections of the European Union, Switzerland, Austria, Luxembourg, Norway, United States, Canada, Brazil, Australia, Russia, Saudi Arabia…
Nat becomes one with his painting. This is not a metaphor but to be taken literally. One does not know, when one sees her working, where is the border between her and her painting. She plunges into the canvas, brush in hand, as a beaver would plunge into the water of a torrent, without worrying about eddies and water holes. It's impressive!
She has no apprehension, she doesn't think about it, about words, about evils, she thinks in painting, that is to say she articulates sensations, colors, textures, shapes with virtuosity.
Make no mistake about it, it is a great knowledge accumulated between the great schools of Art such as that of Avignon or that of the Decorative Arts in Paris, and of her life as a painter which gave her this mastery that some might take for ease, and allowed her to be entirely "at work".
When she works, nothing seems to be able to stop her or deflect her, she shows phenomenal strength, and this strength, so visible, so astonishing, commands respect, outside and even before any aesthetic result.
Her paintings are often declined in series, like a diary, the canvases articulate with each other, like the characters of a vernacular writing, intended for initiates, its sighted brothers, but on everyday subjects that everyone can relate to. appropriate. By articulating with each other, the paintings amplify, invade the space with remarkable force. The paintings do not add up, they literally multiply to constitute a meta-work. And it is in this going beyond that we can grasp the full dimension of Nat's talent, who of objects, of ordinary themes, by their rehashing and articulation goes beyond the common place of everyday life, of the object, of the life of every day, and opens us, through his signature, to the sublimation of the ordinary, which is the true end of painting.
Michel Suret-Canale, Doctor of Arts and Letters
Juste la nature et les émotions simples...
Casino de Fréjus, Rue Jean Aicard, Fréjus, France
Casino de Fréjus, Rue Jean Aicard, Fréjus, France
Mairie d'honneur Les Asphodèles, Avenue de Valescure, Saint-Raphaël, France
Association culturelle Graal organise l’exposition « ReD ». Vernissage le mercredi 19 janvier de 18h30 à 20h30
"The cross", série "Spoons" : chambre Assemblage des 18 toiles 15x30cm; Acrylique sur toile. Acrylic on canvas
"Spirits". Accrochage dans un SPA
Bateaux: dans un séjour Série "Boats" .Acrylique sur toile. Acrylic on canvas
"Objets isolés" , dans un restaurant Acrylique sur toile. Acrylic on canvas.
Accrochage dans un restaurant
Séjour, chambre à coucher: "In the forest" Acrylique, pastels à l'huile sur toile. Acrylic, oil pastels on canvas.
Cafette
Bateaux: dans un escalier Acrylique, pastels à l'huile sur toile. Acrylic, oil pastels on canvas
"Bateaux", "Boats", séjour
"In the forest". Exemple de présentation, séjour Acrylique, pastels à l'huile sur carton. Acrylic, oil pastels on card.
Mise en situation de mes œuvres:
Exemple d'accrochage dans un séjour: coin de bibliothèque, collection "Vitriol" Thalassa, portrait d'un Labrador noir et les Tulipes roses.
Mise en situation de mes œuvres:
Exemple d'accrochage dans un séjour: côté canapé, un mix de tableaux des collections "Architecture" et "Paysages urbains"
Bonne année 2021!
Article Var Matin , octobre 2020. Performance au Féstival de la Craie: Bison
"Panda", animaux en voie de disparition,- performance au Festival de la Craie à Saint-Raphaël, mars 2020
