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4 pieces by Walera Martynchik
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Approaching the Temple
Reconstruction of Future
The Purple Sunset
In Search of Gravity
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Walera Martynchik Paintings
After graduating for 15 years had been working as an artist–designer in the State Public Art company, taking part in many projects, involving murals, sculptures, stained glass ,tapestry and ceramic.
1972- graduated (MA in Public Art) from the State Academy of Fine Art and Drama, Minsk, Belarus.
Single Exhibitions:
2006 “Walera Martynchik” Gallery, London
2005 “Walera Martynchik” Gallery London
1997 “Walera Martynchik” Galery Basmajan, Paris, France
1994 “Walera Martynchik” Vlissingen City Gallery Holland
1994 “Walera Martynchik” Gallery Basmajan, Paris, France
1992 “Walera Martynchik” Gallery Basmajan, Paris,France
1990 “Walera Martynchik” Red Square Gallery, London
Group Exhibitions:
2005 “21 Century Watercolour” Prise winner Bankside Gallery, London
2005 New English Art Club, Mall Gallery, London
2004 Royal Institute of Oil Painters, Mall Gallery, London
2002 Demarco Art Foundation, Brooks Univercity, Oxford
2001 Dach exhibition,Gallery im Kunshaus, Tacheles, Berlin
2000 Demarco Art Foundation, Stainly Picker Gallery, London
1998 Kensington Art Fair, London
1995 Art from Belarus, Edinburgh Festival
1991 Olympia Art Fair London
Artist's Statement:
Martynchik Walera Russian Contemporary Artist It must be difficult for a British viewer used to liberalism, to decades of Pop Art, of artistic eclecticism, to comprehend what it was like to grow up in a totalitarian regime, grey, dangerous and above all simplistic, with the stagnation produced by banal simplification. I grew up in such a regime. My inspiration, my artistic way out of the stultifying attitudes I and others like me encountered was The Glass Bead Game(1943) of Herman Hesse, who too had experience of totalitarianism. His game, you may remember, involved using as many approaches as possible from the past, the cornucopia of cultures. As my own protest against, and escape route from, the apathy bred by malign authority that repressed me, and others like me, I developed a style that uses the gamut of artistic styles from the past - glazing, geometry, perspective, portraiture – together with dizzying echoes of chaos and entropy. It dips into the cultural riches of the visual arts, especially painting. If you want an analogy from the British Art Scene, the one is to be found in the world of Bernard Cohen. His sense of life has affinities with my own, but inevitably my work has political aura that can afford to be absent from his work. -Walera Martynchik.
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