Oksana Veber

Unveiling Oksana Veber's Enigmatic Canvas: In A Journey of Creativity and Bond

In the realm of artistic expression, where imagination knows no bounds, Oksana Veber emerges as a luminary. Her canvas, a portal to an alternate dimension of creativity, beckons art enthusiasts and connoisseurs alike. Within the confines of a compact, abstract square painting, geometry transforms into a conduit for two vivacious spirits, embarking on an odyssey that unveils their destiny. A symphony of triangles, squares, and unconventional shapes lay the foundation for this masterpiece, each form a testament to the tenacity of friendship and collaborative energy.

Geometry as the Language of Connection

The canvas speaks a language only the heart can understand. Geometric shapes, meticulously constructed, coalesce to create an intricate tapestry reminiscent of stained-glass artistry. The meticulous arrangement of these shapes, guided by the hand of the artist, births an illusion of movement and dynamism that captures the essence of life itself. It is as if the very wind they are poised to encounter has been woven into the fabric of the canvas, giving it an ethereal vitality.

Colours: A Palette of Emotion

The colour palette that dances across Oksana Veber's canvas is more than a visual delight; it's a narrative of emotions. A vibrant cobalt blue, reminiscent of the serenity found in twilight skies, serves as the backdrop. Its presence evokes a sense of hope and mystery, inviting viewers to explore the depths of their own imagination. The pulse of carmine red, a hue that symbolizes passion and resilience, resonates boldly. It's almost as if the very hearts of the depicted companions beat in synchrony, undeterred by the challenges that lie ahead.
Amidst this symphony of hues, cobalt yellow emerges, akin to the gentle rays of the sun illuminating the path before them. It's a beacon of positivity, guiding these two spirited beings on their transformative journey.

The Tale of Camaraderie and Courage

Oksana Veber's creation is more than just paint on canvas; it's a story waiting to be discovered. As observers gaze upon this artwork, they find themselves enveloped in a narrative of camaraderie, cooperation, and unwavering courage. Each brushstroke serves as a testament to the potential of human connection, a reminder that together, we can overcome even the most formidable challenges.
The geometric forms, united against the backdrop of a turbulent world, advance hand in hand, a symbol of indomitable spirit. The pale blue swirls that represent the wind they confront come alive, lending an aura of dynamism and vigour to the composition. Yet, these two figures continue their journey undeterred, illustrating that adversity is no match for the power of collaboration.

A Canvas of Endless Interpretation

Art, at its core, is a mirror that reflects the soul of both the creator and the observer. Oksana Veber's masterpiece encapsulates this sentiment, allowing room for unrestricted interpretation. With each gaze, a new layer of significance unfurls, inviting viewers to craft their own narrative within the bounds of the canvas.
As diverse as humanity itself, each observer projects their experiences, dreams, and aspirations onto the artwork. It becomes a mirror through which they glimpse the reflection of their own journey—a story of resilience, of confronting the unknown with unwavering determination.

Beyond the Canvas: Embodying Resilience

The artwork of Oksana Veber is a testament to the resilience that resides within us all. It's a reminder that life's challenges are merely opportunities for growth and transformation. In a world that often feels tumultuous, her creation stands as a beacon of hope—a symbol that two individuals, united in purpose, can navigate the most treacherous of paths with grace and courage.
A Call to Embrace the Unknown in a society that typically values the familiar, Oksana Veber's canvas urges us to embrace the unknown with open arms. Just as her geometric forms venture into uncharted territory, so too must we step outside our comfort zones to embark on our own journeys of self-discovery. The canvas becomes an invitation—a reminder that the most profound growth occurs when we dare to traverse the unexplored.

A Legacy of Possibility

As we immerse ourselves in the world of Oksana Veber's artistry, we find ourselves drawn into a legacy of possibility. The canvas, though static in form, pulses with the energy of potential. It's a reminder that every stroke of the brush holds the power to inspire, uplift, and awaken dormant dreams.

Exploring No-Code and Low-Code: Navigating the Digital Realm

Away from the canvas and into the realm of technology, Oksana Veber's journey takes a different turn. A resident of London, UK, Oksana's artistic spirit led her to explore the world of no-code and low-code development. With a foundation laid in a small 2-day course, she found herself at the crossroads of creativity and technology.
The digital landscape presents its own canvas—one where imagination and innovation converge. The no-code and low-code movement empowers individuals to bring their ideas to life, transforming concepts into functional digital solutions. As Oksana embarks on this new journey, she seeks guidance—a recommendation for a program or course that will deepen her understanding of this burgeoning field.

Embracing Learning: A Journey Unfolds

Oksana's quest for knowledge mirrors the essence of her artistic endeavours. Just as her canvas evolves with each brushstroke, so too does her mind expand with every piece of information she gathers. The intertwining of creativity and technology becomes a narrative of its own—one where the pursuit of learning leads to the illumination of new pathways.

Elevating Art and Innovation: A Legacy in the Making

In the realm of artistic expression and digital exploration, Oksana Veber's name emerges as a guiding light. Her canvas, a masterpiece of colour and form, invites us to reimagine our own narratives. As we stand on the threshold of the unknown, her journey reminds us that, like the wind-defying forms on her canvas, we too can shape our destiny through collaboration, resilience, and the unrelenting pursuit of knowledge.

Oksana Veber

#ArtistryUnveiled #CanvasOfImagination #WhispersOfCollaboration #ColorsOfEmotion #ResilienceInArt #JourneyOfDiscovery #BoundlessCreativity #UnveilingSoulThroughArt #InnovationAndExpression #EmbraceTheUnknown #LegacyOfPossibility #ArtAndTechSymphony #OksanaVeberArt #InspiredByGeometry #CraftingDreamsOnCanvas #EvolvingThroughLearning #ArtistInLondon #EmbracingChange #UnveilingDestiny #ArtistryAndInnovation

08.2017 Zadarski List Croatian newspaper about Oksana Veber exhibition in Preko Ugljan by Andrina Luić.

"Reflections", Exhibition of Oksana Veber Paintings, PREKO, POU Dom na žalu, Ugljan island, Croatia

Unutarnji svijet žena u apstrakcijama ruske slikarice Oksane Veber
Autor: A.L. u Uto, 08/08/2017 - 11:21

PREKO – Oksana Veber, ruska slikarica koja je često progovarala kroz ženske portrete, i na najnovijoj izložbi pod nazivom „Refleksije“ predstavlja se iznimno kolorističnim apstrakcijama u čijoj se pozadini naziru ženski likovi. 
Četrdeset i tri slike, ulja i akrilna boja na platnu, nastale u protekle dvije godine na otoku Ugljanu, premijerno je u ponedjeljak navečer izložila u galeriji Dom na žalu u Preku jer je otok, prema vlastitu priznanju, mjesto njezina najvećeg mira, inspiracije i ravnoteže.
Iako izlaže diljem Europe, sa stalne londonske adrese najradije se vraća na otok Ugljan, u Kukljicu, koja je na neki način postala njezino duhovno utočište.
- Svaka slika može se iščitati na svoj način, ovisno o kutu gledanja i osobi koja je promatra. U pozadini većine ovih slika su ženski portreti koji su odraz nekih mojih stanja, kroz njih ja progovaram pa tako možemo reći i da svaki portret ima elemente autoportreta. Željela sam prikazati emocije, unutarnji svijet, impresije žene u današnjem svijetu, u 21. stoljeću. Ženski svijet gledan iz različitih aspekata. To mi je vrlo važno!, objašnjava slikarica te ističe kako je osim „ženskog pisma“ zanima i suodnos prirode i urbanog te uloga pojedinca u tome.
- Željela bih da usporimo, da promatramo život oko sebe, učimo iz te prirode koja uvijek ima neku dobru priču za nas, poručuje.
Dio ljeta provodi u Hrvatskoj, na otoku Ugljanu, i to radno jer je okruženje iznimno motivira i nadahnjuje.
- Ovdje osjećam dobru energiju, puna sam elana i planova za budućnost tako da ljeto provodim radno, ali to ne osjećam kao muku nego kao opuštanje. Na otoku imam idealne uvjete za rad: nevjerojatnu tišinu i mir. Ovdje mogu nesmetano slušati klasičnu glazbu, posebno operu, šećem šumom, bavim se jogom…, kaže.
Oksana Veber umjetnica je međunarodnog ugleda i značaja, rođena je u Altaju, u Rusiji. Akademiju likovnih umjetnosti završila je u Kijevu. Tijekom razvijanja svoga slikarskog stila, koristila se raznim tehnikama, od akvarela na papiru, tradicionalne tehnike na bazi ulja na platnu, akrila na platnu…
Raspon tema, motiva i stilova Oksane Veber vrlo je širok, od krajobraza do portreta, a uključuje grafički, modni i virtualni dizajn. Poznata je po portretima dame u ekstravangardnim šeširima.
Prije desetak godina Oksana Veber kao članica jedne likovne kolonije došla je prvi put na Ugljan, izlagala je u Kukljici, Preku, Zadru, diljem Europe, u SAD-u... O njezinu radu na otvorenju izložbe govorili su Mladenka Mašina i Venko Mavar.
Nakon Preka, slike s izložbe „Refleksije“ bit će postavljene u galerijama Londonu i Pragu, a u Domu na žalu mogu se razgledati do 21. kolovoza, svaki dan od 20 do 22.30 sati. 

Povezani sadržaj:: 
POU Dom na žalu
Oksana Veber
izložba Refleksije

PREKO, POU Dom na žalu, Ugljan island, Croatia, Exhibition of Oksana Veber Paintings.# www.opcina-preko.hr/pucko-otvoreno-uciliste 
Croatia 
Link: https://www.facebook.com/veber.oksana.art?ref=hl

Art Studio in Blackfriars Road 2013

London Bridge Studio

Dear visitors,

I have something to tell you today. It will be an inside look into the art methods, techniques, that I use. 

I used to paint in all the possible art and non-art materials and also did the huge stain glass projects earlier in the Soviet Era in Ukraine.

My first exhibition abroad in Denmark Copenhagen was all in watercolour on paper technique.

Then while living in the Prague Czech Republic I completely focused on oil-based painting materials.

I used the traditional technique, based on the realism oil painting style, which we have been taught. It was the oil on canvas or card paintings. 

Then I started to develop my own technique which is the combination of the pointed etching needles and oil colours on a special durable card. This gives me the great texture of scratched drowning deeply or gently filled with an oil paint which is contrasting to the oil glossy and smooth card structure. 

I prefer to use the Rembrandt and St Peterborough oils, which are highly transparent and can be layered after they get dry as many times as I need to create special multilayer finish.

The goal is to get the colour layers to be translucent and shine through.

For the base, before I get to the actual painting, I use a special acrylic ground and number of acrylic texture pastes which I could apply freely by pallet knives in various ways.

I use a lot of the mix of linen oil with varnish and turpentine oil for diluting the oil paint. This mixture allows the paint not dry so quickly and give time to work with it to adjust when necessary. This gives me desired semi covering each other layers of the thin oil paint. 

The painting process is never the same, there is always room for improvisation and experiment with non-traditional materials and instruments.

For example, sometimes I use a sandpaper or metal wire brushes to create special effects on the surface of a painting. I used various imprinting effects made by pressure against the painting surface from shapes in wood or plastic, or in broken glass.

Hope this description can provide a brief look into the kitchen of artistic processes.

Please feel free to ask any questions. 

I would gladly answer all of them.

Kind regards

Oksana Veber

I am pleased to be able to announce that seven of my paintings have been used by film company Sash Media Productions for “Amar Akbar & Tony “ British comedy-drama film written and directed by Atul Malhotra.
I am advised that this film was released for showing to the general public.
My paintings now have been returned to me and now available for sale to any one who is interested.
Big thank you to Annalisa Andriani- Art Director and Damien Creagh- Production Designer. It was pleasure to meet and work with you!

http://www.amarakbarandtony.com/
https://www.facebook.com/AmarAkbarAndTony

Amar, Akbar & Tony (2015). AAT Films Ltd. Director: Atul Malhotra, Art Direction Annalisa Andriani : Seven of my oil painting borrowed for use in the set in Amar Akbar & Tony film. Sash Media, AAT Films.

The Oksana Veber story.


The Oksana Veber story.
Oksana Veber is an artist of international reputation and rare distinction. Originally from Barnaul, in the Altaj, above the snow line on the Russian border with Mongolia, China and Kazakhstan, she hails from one of the most politically and geographically isolated corners of the modern world.
Of her childhood she remembers the intense cold, which lasted most of the year. Her grandfather would tunnel through the Siberian snow from the house to reach the street, the stables or the sauna, and she would hollow out ice caves, where she imagined herself as characters from the Tales of Hoffman or Hans Christian Andersen. Summers were spent collecting mushrooms and berries, or feeding the wild 'unicorns' in the forest, as the Siberian Taiga burst into life for a few short weeks before the snow buried the village again.
No sensible person would choose to live in these conditions, and in fact the Vebers are not from Siberia, but from Brandenburg, outside Berlin. During the Russian occupation of Eastern Germany the KGB abducted the entire Veber family to Kosiha in the Siberian Gulag. Oksana's grandparents, Karl and Ida, and Ida's mother Elise, were each sentenced to fourteen years' hard labour, and were released only in 1956 in a regime latterly exposed by Alexander Solzhenitsyn in The Gulag Archipelago. Karl and Ida, on their release, settled nearby in the village of Sosnovka, on the River Ob, where, as former political prisoners and as Germans, they were now ostracized by their neighbours, and soon after Karl was sentenced to another 25 years.
Karl never expected to survive, or see Ida again, and indeed had three more children in the Gulag with another political prisoner. Karl and Ida's two sons, Willy and Rudolph, were also born and raised in the Gulag, yet both were very ambitious, and they now moved to Barnaul in pursuit of higher education. Willy later married Praskovia, from Ukraine, and Oksana was born soon after. At the same time Praskovia's father had died in the war and Praskovia's mother also died giving birth to Praskovia, her thirteenth child. Praskovia's brothers and sisters then raised Praskovia and such was their determination to succeed. that this family of children also moved to Siberia, indeed Barnaul, for the educational and cultural opportunities which were now emerging in the region. Thus the two families finally met.
Oksana was a child prodigy, in the Russian tradition, from the beginning. From a specialist art school at the age of 9, she then went to Bryansk Art College at age 14, where she graduated. As a student she was coerced into working for the KGB, who gave her a diploma on account of her uncanny ability to produce accurate portraits from verbal descriptions of persons of interest. On graduation she was immediately admitted into the Artists' Union of Ukraine, where her professional career instantly took off with monumental commissions for public buildings and state and international institutions, which she managed from conception to completion from the age of nineteen.
Oksana's work is wide ranging, from landscape to portrait to still life, and also includes graphic, fashion and stained glass design. Today she sells in 43 jurisdictions, from Shang Hai to Los Angeles, and she is particularly noted for her signature portraits of ladies in extravagant hats, often bare breasted and surrounded by cats, sailing boats, birds and horses, alongside the resident swans of her beloved Prague. Of these many characters which populate her canvases she says:
'….. the ladies feed the cats and the cats protect the ladies, but all my characters seem to symbolize the pursuit of freedom. I saw my parents coerced by the KGB into joining the Communist Party, for fear of losing their jobs, and I experienced the same rampant corruption myself. The veil which separates us from chaos is very thin and threatens to tear at any moment. Some of my artist friends are in jail in Russia today for their opinions, and when I arrived in the UK, in 2007, for my first exhibition here, I was shocked to hear English friends laugh at politicians, the police and the Royal Family in a manner which is completely unthinkable in the former Soviet Union. Only now did I begin to see that real creative freedom of expression was possible....'
Oksana has known hardship and prejudice only too well and it is surely the quest for freedom that we find distilled and concentrated in her canvasses, both in her subject matter and in her paramount painterly technique. This is her unique contribution and importance as an artist, and her work is surely deserving of the widest possible recognition and acknowledgement in this regard. Oksana's work can be viewed at:
www.veberoksana.com
https://www.facebook.com/veber.oksana.art?ref=hl

Danny Israel in conversation with Oksana Veber.
23 Jan 2015

The Oksana Veber story.                                                                                                                                                                                                       

Oksana Veber is an artist of international reputation and rare distinction. Originally from Barnaul, in the Altaj, above the snow line on the Russian border with Mongolia, China and Kazakhstan, she hails from one of the most politically and geographically isolated corners of the modern world.

Of her childhood she remembers the intense cold, which lasted most of the year. Her grandfather would tunnel through the Siberian snow from the house to reach the street, the stables or the sauna, and she would hollow out ice caves, where she imagined herself as characters from the Tales of Hoffman or Hans Christian Andersen. Summers were spent collecting mushrooms and berries, or feeding the wild 'unicorns' in the forest, as the Siberian Taiga burst into life for a few short weeks before the snow buried the village again.

No sensible person would choose to live in these conditions, and in fact the Vebers are not from Siberia, but from Brandenburg, outside Berlin. During the Russian occupation of Eastern Germany the KGB abducted the entire Veber family to Kosiha in the Siberian Gulag. Oksana's grandparents, Karl and Ida, and Ida's mother Elise, were each sentenced to fourteen years' hard labour, and were released only in 1956 in a regime latterly exposed by Alexander Solzhenitsyn in The Gulag Archipelago. Karl and Ida, on their release, settled nearby in the village of Sosnovka, on the River Ob, where, as former political prisoners and as Germans, they were now ostracized by their neighbours, and soon after Karl was sentenced to another 25 years.

Karl never expected to survive, or see Ida again, and indeed had three more children in the Gulag with another political prisoner. Karl and Ida's two sons, Willy and Rudolph, were also born and raised in the Gulag, yet both were very ambitious, and they now moved to Barnaul in pursuit of higher education. Willy later married Praskovia, from Ukraine, and Oksana was born soon after. At the same time Praskovia's father had died in the war and Praskovia's mother also died giving birth to Praskovia, her thirteenth child. Praskovia's brothers and sisters then raised Praskovia and such was their determination to succeed. that this family of children also moved to Siberia, indeed Barnaul, for the educational and cultural opportunities which were now emerging in the region. Thus the two families finally met.

Oksana was a child prodigy, in the Russian tradition, from the beginning. From a specialist art school at the age of 9, she then went to Bryansk Art College at age 14, where she graduated. As a student she was coerced into working for the KGB, who gave her a diploma on account of her uncanny ability to produce accurate portraits from verbal descriptions of persons of interest. On graduation she was immediately admitted into the Artists' Union of Ukraine, where her professional career instantly took off with monumental commissions for public buildings and state and international institutions, which she managed from conception to completion from the age of nineteen.

Oksana's work is wide ranging, from landscape to portrait to still life, and also includes graphic, fashion and stained glass design. Today she sells in 43 jurisdictions, from Shang Hai to Los Angeles, and she is particularly noted for her signature portraits of ladies in extravagant hats, often bare breasted and surrounded by cats, sailing boats, birds and horses, alongside the resident swans of her beloved Prague. Of these many characters which populate her canvases she says:

'….. the ladies feed the cats and the cats protect the ladies, but all my characters seem to symbolize the pursuit of freedom. I saw my parents coerced by the KGB into joining the Communist Party, for fear of losing their jobs, and I experienced the same rampant corruption myself. The veil which separates us from chaos is very thin and threatens to tear at any moment. Some of my artist friends are in jail in Russia today for their opinions, and when I arrived in the UK, in 2007, for my first exhibition here, I was shocked to hear English friends laugh at politicians, the police and the Royal Family in a manner which is completely unthinkable in the former Soviet Union. Only now did I begin to see that real creative freedom of expression was possible....'

Oksana has known hardship and prejudice only too well and it is surely the quest for freedom that we find distilled and concentrated in her canvasses, both in her subject matter and in her paramount painterly technique. This is her unique contribution and importance as an artist, and her work is surely deserving of the widest possible recognition and acknowledgement in this regard. Oksana's work can be viewed at:

www.veberoksana.com

https://www.facebook.com/veber.oksana.art?ref=hl

Danny Israel in conversation with Oksana Veber.

23 Jan 2015

                         Oksana Veber paintings exhibition in Zelena Punta, Ugljan, Croatia.

My name is Oksana Veber and I am an artist and painter. I would like to invite you to my exhibition.

I have been exhibiting every year in Croatia since 2005, mostly in Zadar and on Ugljjan, including Ancient Glass Museum and Pucko Otvoreno Uciliste.

I returned this year expecting to paint as usual but was delighted when Alena Havlova 

of SARGAS SRO Tourist Agency in Pisek, Czech Republic, who was also staying in Zelena 

Punta, asked me to exhibit for her clients. Suddenly we had a lot of work to do, to get the exhibition together, and I would like to thank Zdravko Kvito, General Manager at Zelena Punta, and also the dancer and fellow painter Danny Israel, for their help in putting the exhibition together at very short notice. The opening night of the exhibition was accompanied by beautiful singer Miriam Pelcova and her jazz band from Czech Republic.

The exhibition has proved extremely popular with visitors and you too are very welcome! 

We are in the large hall above the Reception at Zelena Punta. The exhibition will be open until 10th of October from 8 am till 9 pm and everyone is very welcome, indeed I would love to meet you. I will be there in person so if you want to meet the artist, come along! I will be delighted to answer any questions you may have about my painting.

Oksana Veber

www.veberoksana.com

Photo by Vaclav Krametbauer.