Олег Иванов

ИВАНОВ Олег )
Родился в 1961 году в г.Казани
Окончил архитектурный факультет Казанской архитектурно-строительной академии.
Член Союза художников Республики Татарстан.
Основные выставки:
Выставки Зеленодольского объединения художников (1981-1984)
Молодежные выставки –Выставочный зал СХ РТ, г.Казань ,1987-1989 г.г.
Эдинбургский международный фестиваль искусств 1995 г. Эдинбург (Шотландия).
Выставка Большая Волга (Нижний Новгород), 1998
Выставки казанских художников. "Gallery Varm en Beeld”, Зутфен (Нидерланды) 2001 г.
"Stadishe Turmgalerie Walken bruchekentor” (Германия).
Галерея "De Graven” Девентер (Нидерланды) 1995г.
Выставка казанских художников 1996, 1998. "Field Gallery” Нью-Йорк (США ).
«Классики и современность» 2000 г. ЦДХ. Москва.
Передвижная выставка казанских художников. 2002 г. Н. Новгород – Ярославль – В. Новгород – С. Петербург.
Выставка «Традиции авангарда в искусстве Татарстана» 2003 г. –государственный музей ИЗО РТ, г.Казань
Выставка «Муха №2007» государственный музей ИЗО РТ, г.Казань, 2007 г.
Выставка казанских художников к 1000-летию Казани «22», 2008 г.
Совместная выставка с М.Пивоваровым в галерее "Double M Gallery" г. Казань 2008 г.
Участник «III Московского международного фестиваля искусств «Традиции и современность» Москва, ЦВК «Манеж».2009 г.

Работы находятся в собрании Государственного музея ИЗО РТ (Казань), частных собраниях в России, США, Канаде, Великобритании, Нидерландах, Германии.

Живет и работает в Казани.

Oleg ) was born in Kazan in 1961.
He has graduated from Kazan Institute of Engineering and Construction (currently Kazan State Academy of Architecture and Construction) with a degree in Architecture.
He is a member of the Artists' Union of the Republic of Tatarstan.
His works are held in the collection of the State Museum of Fine Arts of the Republic of Tatarstan and private collections in Russia, USA, Great Britain, Germany, and Netherlands.
Oleg Ivanov started presenting his works at art shows at a young age, when he was still a junior student. His first young exhibitions already won him admirers and critics - few were left untouched by Oleg's paintings so much more that in the eighties hip art with a tinge of Nonconformity sparked feverish "interest.
His knowledge of architecture has not had direct effect on the painter's style. You may feel that he has never been lured by a common in such cases opportunity to apply a rational or prudent designer's approach to objects he depicts.
All the artist's creations resemble a static pursuit of the inexplicable, of things that, although they cannot be described with words, represent the quintessence of being. One integral feature of works by Oleg Ivanov is some meditativeness and peaceful contemplation.
This may be why you try to avoid too many verbs describing his paintings.
Oleg Ivanov lovingly creates an image of an old city combining features of reality and speculativeness. The artist's characters exist in it out of time. They are as much our contemporaries, as ancestors or descendants.
Ivanov's characters have indulgence for society's squabbles. They include natural philosophers, artless life observers, wise men, and God's fools; unremarkable peanuts, and rootless eccentric inventors; dwellers of «Khrushchev-era apartments» dreaming of princes; and hermits looking at phantasmagoria of the surrounding life with a naTve smile in a noisy city. Images in his creations represent embodiment of Stoicism as well as wise and indifferent attitude to instantaneous challenges of the epoch. This is an unhurried fight against instantaneousness and probably the chronotopos as such. His characters do not like haste just as the author himself. He takes his time thinking over his paintings to work slowly and thoughtfully.
Landscapes Oleg's paintings feature are mostly background which often appears conventional and allegoric. The situation is the same with still-lifes his compositions include. This particular house, tree, bird on the back of a chair or tree branch, and cup on the table seem .to symbolize the idea of a house, plant, fragile creature, and vessel as such. His teapot and carafe on the table are mysterious like alchemic flasks. His apple seems to be the one that Eve gave Adam. His faces are like choirs; his fingers are like decrees.
You cannot but note the obvious link with pictorial traditions of icon painting art and consequent poetization and sacralization of usual artless attributes of life fuss. Making unhurried motions with his brush the artist seems to be casting a veil of mystery over the statue of routine. He does not strive after the so-called literary effect.
His source of inspiration is both the present, and the past, modernity and traditions of Russian antiquity. Some of his images seem to have been suggested by murals of cathedrals located on Svyazhsk City Island. This may be why the author's Interest In the microcosm of human existence seems almost epic sometimes.
The artist reflects on universe's secrets concentrated in its miniscule particles.
Oleg Ivanov's paintings boast delicate decorativeness, unique brush-stroke technique, and attention to surface texture. They seem to be Imbued with evening light. Some of his images are condensed from the background twilight as alum is condensed from concentrated solution or as barrois bleeds from pine bark. Atmosphere teeters on the brink of light sadness and quiet joy like the artist's favourite shades of ochre and cold cobalt: earth colour and honey colour, autumn foliage colour and sky colour, water colour and green grass colour, as well as copper patina colour. There is a shape the artist admires and a colour which he uses very frugally as a means of expression. But in his strive for restraint colours he still does not turn his colour moderato into monochromaticism. Although all his tones are subdued, colours do not disappear becoming more weighty and significant. Sometimes instead of canvas or cardboard he uses old boards or darkened with age trunk covers, since their nature has its own effect on colours and surface texture.
Paintings by Oleg Ivanov boast a unique ability of bringing a piece of harmony both to space they are in, whether it is a studio, or a large exhibition hall, and to the heart of viewers that look at them.