// April 14th, 2010 // View Comments // b-loud
Online artist network b-uncut talks to Russian figurative and landscape artist
Dmitriy Kedrin.
What was your very first artwork?
I’ll tell you about my first work. 1967, and I was six years old. At the times in Soviet Union there was a popular illustrated magazine for children called “Vesiolyje kartinki” («Cheerful pictures»). Once it announced a competition for the best childish drawing, and my grandma sent my artwork called “Asya and Natasha” to the editorial. Actually the two girls Asya and Natasha were my childhood friends, I spent a lot of time with them, and this was the cause of disdain for all the boys my age whose pockets were full of tin soldiers and small toy arms. I won the competition, my drawing was published in the magazine, and more than that – I got royalties 4 rubles and 50 kopecks.
In the centre of Moscow, on Lubyanka Square, just across the set of KGB buildings there was a large department store selling all sorts of things for children “Detskij mir” (“The Children’s World”).
There we spent the money won in the contest with my grandma for a dozen tin soldiers and machine gun. Asya and Natasha were soon forgotten. Now all my leisure was filled with fighting Nazis at the backdoor of our house with kids, my brothers and guns. I matured since then.
Describe the piece you love the most—why?
My favorite piece is also from my childhood. Its called “Plenenje Generalfeldmarshalla Paulusa v Stalingrade” (“Capturing General field marshall Paulus in Stalingrad”). This is one of my first oil paintings — I was 11. I keep it in my studio now. Actually by then the World War II memories were fresh in many people minds in the USSR. Obvious enough seeing as the Russians lost about 30 million people. Right from my childhood I was surrounded by war movies and books and hatred to Nazis and personally Mr. Hitler has been flowing down my veins.
I think this piece has something I lost when I started my professional education (even Raoul Duffy called professional education a test) — I mean freedom, liveliness and absolute creativity. One day I suddenly felt that my education impedes me, my mind is under the burden of knowledge and tries to set complete dictatorship over my creative processes. Fears have escalated: notions such as “this is right” and “this is wrong”, “it is allowed” and “it is not”. I then realised that my key aim was to get rid of the knowledge I gained through the years. Thus I embarked on a path of betrayal to my teachers.
Now I want to come back to my childhood. When I didn’t know anything and was absolutely free. When my hand was guided by soul, intuition and passion. I am tortured by the desire to recover my bygone purity. Sometimes I stop visiting exhibitions and museums, buying art magazines — thus I try to get rid of information and to ‘switch off’ my mind. Forget all and recall all — that is my ultimate goal.
What are your methods? Your inspirations?
My methods are hard for me to explain. I use no pre-sketches or études, though I have been taught to do so, of course. Firstly I know just a bit: for instance, the figure is not to be quite in the centre OR this piece will have lots of black with indigo…. As a result the color scheme and composition happens right there on the canvas. The paintwork can change the scenario — men become women and vice versa, fat girls turn slim and skinny get overweight. This helps build up the thickness of the paint layer; uncommon, paradoxical, “defective”, free-hand factures arise. At some point the paint density starts to release energy, one layer speaks out for another, meanings and emotions cross by mixing up its meanings and emotions as a striking polyphony. Surface suddenly becomes a living, breathing creature. Sometimes the foreground image consisting of a few lines and stains harmonizes with the previous one (it is important to stop in time) causing an interesting unexpected plastic effect — and the piece is done! Starting to work on the surface, thoughts and getting through various emotional patterns can take weeks but the piece is put together in an hour or so. Sometimes this differs.
I am inspired by: ladies, city, my own fantasies and thoughts, other artists and pornography.
b-uncut: What did it take to make it to where you are now?
As far back as school I won a few competitions on anti-war propaganda posters - it was the Cold War and the theme was urgent. I used to be pacifist and hippie. That said it has been quite dangerous at times because long hair can get you a direct ticket to the police department where they cut it. Later I finished art school and graduated from the Institute of graphical design and book illustration. As a first year student I participated in an underground meeting for the memory of John Lennon (1981). There were about 300 participants, and we ended up in the KGB basement. I was warned I would end-up as a drop-out, but I survived – the soviet machine had already gone down hill and the KGB system was faultering… Since then I worked in number of publishing houses, designed books and magazines, wrote scripts for TV etc.
I only seriously set to painting in 1996. Italy’s landscapes and my first personal exhibition took place the same year. In 1997 I became a member of the ‘Union of Artists’. The selection committee consisted of 30 people, including some members of ‘Academe of Arts’. 29 were “in favour”, 1 “against”. Still think about the one who said “No”. The First prize in the contest “Golden brush of Russia” was mine in 1998. Set of twelve teacups made in Czechoslovakija was my prize. Of course, I understand that was 1998, a year of the crises… but I got the only teapot left, with a broken nose at that.
Summary: about 50 exhibitions (6 of them solo), which have taken place in Russia. Germany, France. One marriage break-up, thousand gallons of paint, beer and wine, thousands of hours en plein air, three scars with my head beaten up in street-fightings, 20 girls I regret I was not brave enough with, insomnia, more regrets and hope.
Do you make a living from your artwork?
Nope.
Who has helped you along the way?
My grandfather, famous Russian poet Dmitriy Borisovich Kedrin, destroyed by Stalin’s regime in 1945, my relatives, women, Van Gough, a poet friend of mine Pavel, millionaires, teachers, friends, Galina in 1979… God.
What 5 artists (dead or alive) would you invite for the ultimate dinner party?
Cecily Brown, Frida Khalo, Natalia Goncharova, Mary Cassatt, Elizabeth Peyton
Your favourite curse?
Pertaining to the sexual sphere.
Qualities a woman needs to seduce you and the flaws that will repel you?
Interest in me. Absence of interest in me.
Your biggest (albeit endearing) flaw?
Laziness.
Your parents advice you should have followed, but didn’t?
Don’t drink too much, don’t be on friendly terms with Aleksey, don’t get in bed with Jelena.
The power you wish you had?
Sometimes become invisible.
Favourite ice-cream?
There was a sort of ice-cream in former USSR, I died for when I was a kid. Huge carton cup of 500 grams with two sorts of ice-cream inside, cream top layer, choc bottom layer. Some pretty big comet-like chocolate pieces were hidden away between these layers. The ice-cream was called “Cosmos” — most expensive ice-cream in USSR, 75 kopecks take-away price. You could get two beers or pack of cool premium cigarettes “Zolotoje runo” (“Golden Fleece”) for that kind of money. No more “Cosmos” in Russia now, I have changed my habits too — I am now rather prefer pack of cigarettes and two beers.
Where do you see yourself in…..One month?
Art
One year?
Art
One decade?
Art
