Izya Shlosberg

Russia: Minsk 1978, 1982; Moscow 1985; Odessa 1990; Brest 1993; Pinsk 1973, 1975, 1981, 1985, 1988, 1989, 1990, & 1991
Germany: Altena 1991; Berlin 1992
Poland: Bjala Podljaska 1988, 1990; Lodz 1990; Warsaw 1992
Romenia: 1990
U.S.A.: Zimmerly museum, New Brunswik 1995-2005; Russian Art, Potomac, 1994-1996; Zenith Gallery, Washington 1995-2003; International Art, Washington, 1995-1997; Gordon Gallery, Baltimore 1996, 2002; Baltimore Hebrew Congregation, Baltimore 1997; Gallery 6001, Baltimore 19992-2005; Montage Gallery Baltimore 1999-2005, Baltimore; American Artradgeous Gallery 1999-2001, New York; Lombardo Gallery 1999-2002, New York; International Gallery 2001-2003, New York ; Ray&Sveta Dileo Art Show, Silver Spring, 2003, 2005; Gallery Blues, Cleveland, 2003-2004; Rockville Show, Rockville, 2003; Kol Nashim, Baltimore, 2004, MAP, Baltimore, 2002-2005; Russian Synagogue, New York, 2004, Asociación Cultural Ruiz Aznar, Spain, 2005

Izya Shlosberg graduated from the Moscow University of Art, and the Belarus Institute of Technology in Minsk. Mr. Shlosberg combines his technical training in industrial design and independent study of form and color to give him a unique perspective on the concept of art.

"...According to the article "Quest of Knowledge," on the dawn of that which we altogether arbitrarily and doggedly call "human," in primordial tribes the distribution of roles was more natural and connected: a hunter was a warrior and he was a shepherd. An artist was a priest, scientist and engineer. This experience gradually was stored in the subconscious on a instinctive level already codified as a mathematical formula. Seeing only the surface layer of this experience we arrogantly called it primal. But even if this primal consciousness was very fundamental, very sensitive, it used abilities which are lost today. Look at how balanced and contemporary the compositions of the primeval artist are, how poetic and musical they are. Although by our modern perception we can discern only a drawing, nonetheless our subconscious prompts us that the codification here is more multi-faceted , that the primeval artist created a whole complex which we understand first and foremost as a drawing. Having said this, it is not surprising that many musicians draw and write poetry magnificently, and poets illustrate their own works, and play guitar during breaks. Summing up the above mentioned points, the artist should be looked upon as a conduit of archaic, elementary knowledge, which we sometimes classify as knowledge from within, and art itself as a codified reservoir and language of this knowledge. Perhaps, therefore, we are very often interested in the works of primitivists and contemporary artists working in archaic styles. On the other hand we delight in the utilitarian streamlined form of an airplane as perfect, that is, technical information codified in a drawing again becomes engineering and the subconscious automatically makes this connection with the esthetic "interpreter." There is more to it. Thanks to working with the codified information, the artist having been "infected " with it, begins to express the appearance of extrasensory mutations - premonitions, physiognomic abilities, etc. - in it. Certainly, in "troubled times" (before revolutions, wars and cataclysms) art becomes more dynamic; it changes. But there is nothing supernatural here. If you are in a field, you know there is a very high probability that a brick will not fall on you, that is, you have already foreseen some aspect of the future. Artists, as a more emotional aspect of humanity, feel this on the instinctive level. Apparently for early man it was rather commonplace to "foresee" the appearance of an enemy, earthquakes, etc. Perhaps that is why he, and not the dinosaurs, survived..."
I. Shlosberg

Russia: Pinsk 1990, 1991
U.S.A.: Baltimore Hebrew Congregation, Baltimore 1997; Montage Gallery Baltimore 1999-2005, Baltimore; Ray&Sveta Dileo Art Show, Silver Spring, 2003; Kol Nashim, Baltimore, 2004,