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Fight - large watercolor painting, battle of two roosters (2022) Painting by Olga Bezlepkina
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"Fine-Arts" prints on paper
It is a process of printing on art paper using very high-quality pigment inks and printed in very high definition. Its level of conservation is exceptional (more than 100 years), its quality, depth, and richness of nuances exceeds the classic photo print on Argentic paper.
Glossy finish
Apart from its exceptional thickness, the fiber paper is composed of an alpha-cellulose base without acid and it is covered with barium sulphate, and a microporous layer absorption enhancing pigments during printing. A pure white color, non-yellowing to light, this paper is especially designed for resistance and aging. It is used by major museums worldwide as it offers excellent resolution, rendering deep and dense colors.
Art Print "Fine Art" - Glossy finish on a fiber base paper 325 g.
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About our fine prints-
Original Artwork (One Of A Kind)
Painting,
Watercolor
on Paper
- Dimensions Height 32.7in, Width 21.7in
- Artwork's condition The artwork is in perfect condition
- Framing This artwork is not framed
- Categories Paintings under $1,000 Impressionism Animal
I don't approve of the bloody slaughters that people have with these birds. But I can't help but admire their combat guise.
We all have our off days. I respect my failures and failings, because they help me improve. But what I'm really sorry about is the paper.
And I have strong reasons for this:
- Cotton cultivation causes soil degradation and erosion as well as loss of forest area and other habitat.
- Cotton production is responsible for the emission of 220 million tons of CO2 annually.
- It takes 10,000 liters of water to produce 1 kilo of cotton, meaning it takes about 1,276 liters to make 1 Full Imperial size watercolor paper sheet.
Even the most responsible production of watercolor paper is harmful to the environment.
So I try to be very economical with the watercolor paper.
I make postcards on the little pieces of paper that I left behind when I cut the roll for my paintings and recycle the smallest pieces. And when a painting on a dense paper fails, I just flip the sheet and paint on the other side. So some of my paintings on the backside contain images that I found unsuccessful. I enclose a picture of the artwork back in this case.
Related themes
In my practice, I see urban spaces and landscapes as carriers of meaning. I observe the environment around me — the places where I live, where I walk every day. It’s important for me to feel a connection with the place and its atmosphere. I believe that by paying attention to details — graffiti on a wall, shadows, litter, grass breaking through concrete — we can learn a lot about ourselves and the time we live in.
I’m especially drawn to places and buildings that have lost their function or original purpose. In this transitional state, they seem to exist somewhere between life and death — or perhaps between one life and another. I notice how they continue to live: altered by time, nature, and human presence. It might be an old factory, a workshop, or a house someone once left behind.
I look at them as living beings — with history, scars, and traces. My works form a visual diary where I record the states of these objects during their transformation.
My art is a way to ask, to remember, and to stay connected with what surrounds us — even if it seems insignificant.
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Nationality:
RUSSIA
- Date of birth : unknown date
- Artistic domains:
- Groups: Russian Contemporary Artists
