The Year 2024
While I was translating and uploading articles for my new website and reviewing texts from old blogs, I realized how much happens in a single year. I decided to write down the sequence of events to ensure key moments and discoveries aren’t lost.
In February, I traveled to Paris for the Art Capital exhibition, where I showcased my Sedge painting of an unusual size for me. This piece had traveled with me across all locations of the MEL project the year before. After the Paris exhibition, it remained at Gallery G12 in Germany and hasn’t returned home yet, though I adore the mood it captures.
In February, I traveled to Paris for the Art Capital exhibition, where I showcased my Sedge painting of an unusual size for me. This piece had traveled with me across all locations of the MEL project the year before. After the Paris exhibition, it remained at Gallery G12 in Germany and hasn’t returned home yet, though I adore the mood it captures.
Paris. Art Capital
Paris. Art Capital
The exhibition was full of meetings with old and new friends, artists, and organizers. The Eiffel Tower sparkled with lights, and the Louis Vuitton Foundation was hosting a Rothko exhibition.
Immediately after Art Capital, I went to the Canson factory near Lyon to meet with the technicians and view their new paper, Canson Velvet, finally released this year. The factory had been meticulously working on this paper for over three years, and I had tested several intermediate versions.
Тест бумаги Canson Velvet
The meeting in Annonay was comprehensive. I toured the production facility, explored the internal office with its variety of materials, painted a two-hour demo on the new paper for a film, and visited the old Canson museum. There, I immersed myself in the history of the Montgolfier family, pioneers of both papermaking and hot air balloons.
I flew home from Lyon with new paper, new experiences, and bright hopes for the future.
I flew home from Lyon with new paper, new experiences, and bright hopes for the future.
Perfect Continuous. Exhibition in a gallery Exposed
March and April were spent in the studio working on a project that opened in May at the Exposed gallery. This was a joint project with Anna Kalugina, combining mosaic and pastel, titled Perfect Continuous.
The exhibition explored the stages of artwork and the moment they can be considered complete, blending two materials that resonated beautifully together. Anna and I even created several collaborative pieces—I worked with charcoal and pastel, while Anna crafted the mosaic.
The exhibition explored the stages of artwork and the moment they can be considered complete, blending two materials that resonated beautifully together. Anna and I even created several collaborative pieces—I worked with charcoal and pastel, while Anna crafted the mosaic.
Ficus
We also decided to set up a live studio in the gallery, allowing visitors to observe our process.
Surprisingly, despite being displayed without glass, all my pastel works returned undamaged. And even now, I have not yet sorted and arranged all the paintings from this exhibition.
Surprisingly, despite being displayed without glass, all my pastel works returned undamaged. And even now, I have not yet sorted and arranged all the paintings from this exhibition.
Studio in the gallery
Just in time for the opening, the Gamma factory released a 60-color pastel set featuring my custom palette, which we worked on with technologists for over a year. This was a wonderful gift for me and all pastel artists!
Gamma pastel set with colors from my personal palette
In June, I flew with four large paintings to the 40th-anniversary exhibition of Pastellistes de France, that was needed to celebrate.
Pastel exhibition for the fortieth anniversary of Pastellist de France
Afterward, I stayed in Montignac as a guest of Karin and Stéphane, the owners of the Girault pastel brand.
For three weeks, I worked in their studio, preparing for a second French exhibition in Saint-Aulaye and creating pieces for an exhibition in China.
During this time, I learned to drive a large Ford Transit, traveled to Paris to see the Picasso Museum exhibition, painted at the official opening of the Girault gallery, and conducted two live workshops for international groups.
Thanks a lot to Karin and Stefan for their hospitality and opportunities.
For three weeks, I worked in their studio, preparing for a second French exhibition in Saint-Aulaye and creating pieces for an exhibition in China.
During this time, I learned to drive a large Ford Transit, traveled to Paris to see the Picasso Museum exhibition, painted at the official opening of the Girault gallery, and conducted two live workshops for international groups.
Thanks a lot to Karin and Stefan for their hospitality and opportunities.
The Pastel Girault Gallery
Alexis, Olga, David visiting Giraud's pastels
In August, I returned home and began urgently completing the pieces for my solo exhibition at the Ming Pastel Museum in China. I prepared 36 small paintings, but each took time. I took some of the works from the old collection, the rest were new.
When the time came to ship the artworks, challenges arose. Since my paintings had been officially designated as Cultural Value over a year ago, the documentation process involved dual checks. First, experts issued a valuation report, then the Ministry of Culture provided final export clearance. And then it’s either shipping the works or going through the "red corridor" at the airport.
This time, the declared value of my 36 paintings was too high to ship them using a simple method, so I had to transport the works myself and frame them just a day before the exhibition. Huge thanks to the Ming Gallery for their efficiency and excellent preparation.
A day after my arrival in October, my solo exhibition opened, with all the works in place. I named the exhibition "The Game of Shadows."
When the time came to ship the artworks, challenges arose. Since my paintings had been officially designated as Cultural Value over a year ago, the documentation process involved dual checks. First, experts issued a valuation report, then the Ministry of Culture provided final export clearance. And then it’s either shipping the works or going through the "red corridor" at the airport.
This time, the declared value of my 36 paintings was too high to ship them using a simple method, so I had to transport the works myself and frame them just a day before the exhibition. Huge thanks to the Ming Gallery for their efficiency and excellent preparation.
A day after my arrival in October, my solo exhibition opened, with all the works in place. I named the exhibition "The Game of Shadows."
Solo exhibition at the Pastel Museum in China
At the same time as my solo exhibition in Suzhou, the International Pastel Biennale was taking place, where I showcased one painting.
I gave a presentation at the forum about the life of an artist in the studio and beyond, participated in live demos, and conducted four days of workshops for Chinese artists.
A week later, I flew to Taiwan to meet with students and explore the beautiful locations near Taipei.
I gave a presentation at the forum about the life of an artist in the studio and beyond, participated in live demos, and conducted four days of workshops for Chinese artists.
A week later, I flew to Taiwan to meet with students and explore the beautiful locations near Taipei.
IAPS
A thrilling event this year was receiving the Eminent Pastelist status from the International Association of Pastel Societies (IAPS), where my work "Onion and Monstera" won the Grand Prix.
In December, the NSP (National Pastel Society) exhibition "Сrossings" took place in Moscow. This exhibition always captures my attention, especially because of the meetings, which are so dear to me.
In December, the NSP (National Pastel Society) exhibition "Сrossings" took place in Moscow. This exhibition always captures my attention, especially because of the meetings, which are so dear to me.
Сrossings. NPS exhibition
As the year comes to an end, I realize that my schedule is just as full as ever. I still don’t want to waste a single minute and strive to spend as much time as possible in the studio while I can. Somehow, it always feels like I need more time than I have for this.
This year, my updated website was finally launched, and while working on articles from my old blog, I decided it’s the perfect time to return to writing. So many interesting things happen!
I want to thank everyone I had the pleasure of working with this year, all those who supported my projects and stood by me. And thank you to everyone who painted with me this year at various venues in Russia, France, China, and during plein air trips!
Happy New Year! May it be a joyful and fulfilling one for you.
This year, my updated website was finally launched, and while working on articles from my old blog, I decided it’s the perfect time to return to writing. So many interesting things happen!
I want to thank everyone I had the pleasure of working with this year, all those who supported my projects and stood by me. And thank you to everyone who painted with me this year at various venues in Russia, France, China, and during plein air trips!
Happy New Year! May it be a joyful and fulfilling one for you.
Последние посты
Последние посты
© 2024 Olga Abramova
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