Polina Egorushkina - Interview

Artist and illustrator.
Lives and works in Moscow.
Winner of the Prize Excellence Award ( "For excellence") at the International Biennial of watercolor in Shenzhen (China) and Redfern Gallery Prize at the competition of the Royal Society of watercolor (London). Grand Prix "The prospect of watercolors" at the international exhibition "Masters of watercolors - 2015".
The diploma of the first degree at the All-Russian contest "Book Art. Traditions and search" for the artistic design of the book by Jules Verne's "20,000 Leagues Under the Sea."

Polina Egorushkina

Has watercolor always been your technique?
Yes, I always used watercolor, but a long time, the process was different. I worked on the book illustrations. It was a very painstaking graphic sheets. Now I paint completely free of meticulous detail things.

How did you switch to a large format?
I didn`t. Even my original illustrations were always several times larger than in the a book.

Polina Egorushkina. Sleep! 80x100 cm 2015

Are your paintings united in series by some idea?
Yes. There is an idea that emerges and that just does not fit in one painting work, this is how a series emerges.

What appears at first - an idea or a formal desision? Does it happen that some abstract design idea gives a theme and a name to a series?
No, it does not happen, the idea always in mind before you start. For me, all attempts to act in reverse order look like something artificial.

Polina Egorushkina. Boulevards. 80x100 cm 2014

What is the percentage of spontaneity and planning when working on the painting?
A huge percentage of spontaneity. That's all that brings joy! I always work on wet paper without a pencil draft, so that nothing paralyzed the process. A thought can always wag and the whole idea can change, at this point you do not want to see on paper any limiting sketch.

How do you feel about the finished work? Do you feel any connection with them?

Of course. They are all very dear to me. I remember what mood I had in each work, what were troubles at work. And I like to see how it all came together in the end.

Polina Egorushkina. Empty. 80x100 cm 2015

Do you have limits or regulations in working with watercolors?
Definitely no prohibitions. No regulations, too... The only thing - I usually make no amendments, when a layer of paint has dried. I proceed quickly.

On what paper do you work?
Arches, Canson

Do you use flat or round brushes?
Any brushes.

Polina Egorushkina. The Grey Skyscrapper. 80x100 cm 2014

Do you see the works of other artists?
Rarely.

What did you give the reward in the Shenzhen Biennale?
Great joy and a trip to China.

Your advice for beginners watercolors.
Be brave and sincere in your work.

Liu Xide - Interview

Liu Xide is a young Chinese artists working in watercolor. He lives in Guanxi provance that is said to be a place of watercolor in China. I represent an interview with this master that is included in my new book "Masters Of Watercolor. Both Sides Of The Great Wall"

Do you consider your painting style western or traditional?
My painting style is more traditional.

Do you follow certain aesthetic cannons when you paint?
Of course. And I also follow my intuition, inner voice and feelings.

Liu Xide. Hmong Girl. 76x56 cm. 2015

How many colors do you have on your palette?
There are 18 colors on my palette. But actually only 6 or 8 color or even less I would use often.

Do you plan your work before you start?
Yes. I will always plan my work before I start, which means a lot to me. I need to make an overall plan according to the subject or my inner feelings. This step can help me to avoid some problems.

Do you always complete your painting in one go?
In most cases, I finish my painting at one time, because in this way I can fully focus on it and keep a coherent thoughit. Besides, the characteristics of water-colour painting need me to finish it at one time.

Liu Xide. Affectionate Song. 73x53 cm. 2015

How many different brushes do you need for one painting?
You know, Chinese brush is very expressive. It can be used in many different ways. So basically, it is enough for me to use 3 brushes - one big brush, one Chinese brush and one small brush for painting details.

Is it important to paint in plain air?
I think it is fairly important. From the view of learning, plain air is the best lesson for color training. It provides us with rich color changing and splendid scenery. By out-door painting, we can earn exquisite skills and color language.

Liu Xide. Asking. 56x76 cm. 2014

Is it possible to be a full time artist in China?
This is an interesting question. In China, nothing is impossible. Though full-time artist is an ideal job, it is hard for us to earn our living by painting only. 

What is more important for an artist - successful students or personal achievements?
It is hard to answer this question as to answer the meaning of life. But it is quite meaningful. First of all, teaching successful students is important, which helps them to make their own achievements in art and also proves that the teacher is successful. But if I have to choose one from the two, I have to say that, for an artist, personal achievement is more important . As an old Chinese saying goes: An accomplished teacher has skilled students. One have to be a successful artist before he has the ability to teach others.

Liu Xide

Is there a strong competition between artists in China? Does it help to improve to every artist?
In China, there are many excellent artists. It is very very difficult for many to have the ability to have his paintings shown in a national level exhibition. I have no idea whether it will encourage every artist. But for most of them, I think the answer would be yes. Every artist should have a positive and innovative spirit of practice.

Have you ever been fully satisfied with your work?
Besides work, drawing is my hobby. It is a happy thing to be able to draw. I am quite happy with my job now.

Liu Xide. Hmong Girl-2. 56x76 cm. 2016