Face impressions (2018) Tablo Oksana Veber tarafından

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18010, Face impressions, acrylic on paper, 59-42 cm, 2018. Bu sanat hakkında: sınıflandırma, Teknikler & Stiller Akrilik Sentetik reçinelerle karıştırılmış[...]
18010, Face impressions, acrylic on paper, 59-42 cm, 2018.

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Born in Siberia to a Ukrainian-German family, the artist painter works from her studio in London. Oksana's work is wide-ranging, from landscapes to portraits. She has lived in the UK since 2010, and in[...]

Born in Siberia to a Ukrainian-German family, the artist painter works from her studio in London. Oksana's work is wide-ranging, from landscapes to portraits. She has lived in the UK since 2010, and in the Czech Republic for several years. She studied art at Bryansk Art College and Kyiv Academy of Fine Arts, and later BA in Psychology from the Academy of Human Resource Management in Kyiv. A member of the UK Artists Union, Oksana has been painting since the age of four and exhibiting since 1987. Her paintings can be seen in galleries and private collections worldwide. Her style has changed over the years. The first paintings were landscapes that reflected a fascination with Daoism and other Eastern philosophies and included themes of peace and harmony. Recent works contain the same theme, but by depicting women in a warm and positive style. The subtle use of colours, ranging from warm wood to gold and copper, gives these paintings a unique and sensual aura. Over the past seven years, she has participated in art workshops in Croatia and Bulgaria, which has allowed the artist to pursue her love of nature and work in harmony with it. The art style continues to evolve, and the paintings are becoming more abstract. The use of colour, line, and form demonstrates communication and connection between the figures and the background while conveying movement that brings each work to life. 

Oksana's statement: “The beauty and harmony of nature always inspires me, and my paintings are an attempt to reflect and capture this. My earliest childhood memories are of sitting in a tree overlooking a gorge and watching the first rays of morning sun mingle with the bands of mist rising from fields of tall grass before slowly dissipating. Whether I paint a woman's body, a still life, or a landscape, I use lines and colours to record this feeling of harmony on a canvas.  Pictures often come to me in my dreams at night – with the combination of colours and the composition appearing very lifelike.  When I wake, I quickly sketch the images I have seen in my dreams before they disappear in the daylight.”

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