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"I believe the way the artist uses the brush, the brushstroke, can be very individualistic and can create totally different impressions."

What makes good art? In our opinion, something that provokes something in you. That pushes you to contemplate, admire, be inspired, and want to share with others. That is exactly what we came across with our featured artist, Viktoria Maliar. Filled with complexity and a spectrum of emotional range, her work is something to see. 

We had the opportunity to ask Maliar about her work, inspiration, and what she wants to accomplish with her work.

What’s your earliest memory in art?

As a child I had the collection of postcards from the Hermitage Museum in St. Petersburg. I don’t know, if they were printed badly or the chosen paintings were too complicated for a child's understanding, but I remember through the images and finding them all very boring. Except for one, the Madonna Litta by Leonardo da Vinci.


What leads you to human form as the central subject matter in your work?

Sometimes I try to paint something different, not human connected, but unintentionally I come back to it over and over again. I guess, it’s somewhere deep inside of me. I love to research the human body, human expression and human energy in my paintings. However I’m not interested in classical portraits. It’s something symbolic and metaphysical I’m looking for, while painting human forms.  


What elements are important to you when working on a piece?

In the moment I’m very much concentrated on color and on paint application. I believe the way the artist uses the brush, the brushstroke, can be very individualistic and can create totally different impressions. While experimenting with different color combinations I’m looking for the most simple, but still expressive way of using color. Similar to post-impressionists I feel the color can provide a huge symbolic meaning for the artwork. 


How important is being vulnerable in the creative process?

In the creative process I see it as an advantage. I believe there’s often drama behind great artworks. However, the difficult part about it, is that an artist should be able to turn the vulnerability on, when he needs is and to turn it off in other situations.


What are some other artists that you admire?

From history of art: Henri de Toulouse-Lautrec, Edvard Munch, Maurice Denis, Gustave Moreau. Contemporary: Guglielmo Castelli, Ruprecht von Kaufmann, Peter Doig, Daniel Richter.


If you could ask any other artist, dead or alive, one question, who would it be and what would you ask?

I would ask Hieronymus Bosch about his imagination. How did he come up with all that craziness in his works. 


What was the last thing you saw that inspired you to create?

I was editing a video from a trip, and I saw one of my friends was standing near a yellow wall. And because the sun was bright, she was throwing a strong shadow on that wall. There were so many beautiful colors, shades and reflexions in that shadow, that I immediately got inspired to show this in my next painting or drawing.   


Favorite place to see art in the world?

I’ve visited Rome recently and was impressed how much art is present there. For me to have such an artistic environment is way better, than to watch art pieces on white walls. I believe Florence would be also great for it, I haven’t visited it yet. 


What would you like to accomplish with your art?

I try to give the viewer feelings and emotions from looking at my artworks. The worst case for me is when an artwork doesn’t awaken anything in a viewers mind or heart and he just simply passes by thinking “I don't get it”. I want my art to be emotional and to transmit it to the viewer.




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