Dmitry Fesechko
b. 1988
lives in Moscow, Russia
Exhibitions:
2008 Solo exhibition, Russian Presidential Academy of National Economy and Public Administration, Moscow
2008 Group exhibition Death and afterlife in art, VDNKh, Moscow
2008 Two paintings were bought for Museum of world Funeral Culture, Novosibirsk
2010-2011 Group exhibitions, Grekov’s Studio, Moscow
2011-2013 Participant of Andrey Nekrasov surrealism art projects “Geysers of subconscious” and “Ying Yang”.
2011 Group exhibition, The State Central Museum of Contemporary History of Russia, Moscow
2012 Group exhibition, Gallery “Plum Palm”, Moscow
2013 Group exhibition, Gallery “Plum Palm”, Moscow
2013 Group exhibition, Central House of Artist, Moscow
2013 – Agnirealism exhibition, DEVE gallery, Moscow
2014 – Agnirealism exhibition, Galerie Natalie Boldyreff, Paris
Publications:
2008 Interview, The Battered Suitcase, Vagabondage Press, LLC
2012 Interview, Futur Maestri
2015 Interview, Artist Removed
2015 Interview, Figurementors
2015 International Contemporary Artists, Vol X, ICA Publishing
2016 The First Berliner Art Book 2016
2017 Interview, Figure Painter Magazine Vol. 46
2017 article, Russiaknowledge
2017-2018 Author of the section “Lessons from the past”, Figurementors
Art Awards:
2017 Bullfight painting, Honourable Mention, Creative Inspiration 2017” event, Bauhaus Prairie Art Gallery
2017 One has reached Samadhi painting, Special Merit Award, Light Space & Time Online Art Gallery
2017 Sadhu and the old man painting, 4th place, American Art Awards 2017
Miniature Art Events:
2012 Golden medal, Silver medal, Winter Angel Miniature Show, Moscow
2013 Overall prize winner, Spring Angel Miniature Show, Moscow
2015 Silver medal, Monte San Savino Show, Italy
2016 Bronze medal, Monte San Savino Show, Italy
2016 Contest Judge, Ruby sphere Miniature Show, Moscow
2017 Contest Judge, Monte San Savino Show, Italy
A member of Creative Union of Professional Artists since 2013.
I am also a famous miniature painter. A multiple award winner. You can find my miniature art gallery here.
I am also an author of the section “Lessons from the past” dedicated to classical art on Figurementors.com
-Tiny portrait
“Paintings made with such technique have a very volumetric light, the illusion of volume and presence is incredible. Now comes the secret. The light pierces the canvas and reflects from the wall where the painting is hanging and lights the canvas from inside. As the shadow areas have the most transparent layer it glows the most. In real life our eye tunes the aperture when you moving the sight from light to shadow so we can notice a lot of details in very dark shadows and we can see a lot of details in very light areas when we stop our sight there. Without such technique our eye see the painting as a simple 2D object. With such effect moving your sight through the composition gives you an illusion of 3D objects as the aperture of the eye needs to tune to different objects in the picture.” – interview for Figure painter magazine.
“My conception is that after the work is finished and being published or exhibited the observer/audience takes part in the creative process. You are trying to express something without words – that what visual art is. People catch those emotions and feelings but associate them with their own life experience. They catch some ideas but also connect them with something they already have in their minds. And they fulfill the artwork even more. The artist/creator of the artwork can have own opinion and meanings but I am sure that his opinion is not more important than others. And even more I am sure that artist can comprehend himself by knowing the opinion of different people about his artwork. There is definitely something metaphysical here.” – interview for Figure painter magazine.
“As I know it is not so well in gallery business now. The modern technologies and fast rhythm of our life have its influence. People watch hundreds of pictures on their screens every day and they have no time to visit exhibitions. That’s why the interactive art forms become more popular in galleries, when the visitors become the part of the art. But it is pretty hard to sell traditional paintings in the gallery for the example than even to sell it or to make some useful connections with internet. The exhibitions are stopping to be the best place to promote traditional art and there is something to think about. But nevertheless I like to talk to different people on such events, to discuss different stuff with another artists and to hear some positive feedback that inspires me and making me feel useful. I think that feeling myself useful, knowing that I made people to think on philosophical themes, knowing that I have inspired someone and gave some positive emotions is very important for me. It is like you are making this world a little bit better.” – interview for Jason Martin.
