The Year 2019

Good day!

I was planning to write a short announcement about an upcoming plein air session in Sedona at the end of April and the beginning of May next year. But then I looked at the calendar and paused.

The year is coming to an end—a year so important that I really want to write about it before leaping into 2020 with exciting plans.

2019 was indeed a pivotal year, much like in a novel by Ulitskaya—those years that seem to reshape everything in your life. It began with intriguing opportunities that seemed to fall on me all at once. The National Pastel Society had already been founded, but there was no rush or pressing meetings just yet. I was writing a book for Eksmo Publishing, painting, and taking my time.

In June, I was preparing for the pastel convention in Albuquerque, America, as one of my works had been selected for the exhibition. I was eager to attend and see so many artists and organizers gathered in one place.

The convention was a revelation for me. I witnessed how vibrant festivals like this are organized in America, attended the Presidents' Forum, sat at the same table with legends, won the gold prize at the exhibition, and even sold my award-winning piece.

The convention lasted six days. The packed schedule didn’t allow me to visit every venue, but I managed to watch several demos, peek into some classes, and have meaningful conversations with fascinating people.

After the convention, I spent a week traveling through four states: New Mexico, Utah, Arizona, and Nevada. I saw a massive haloed rainbow over a straight road, petrified trees, camper vans like those from the "meth" series, and red, stratified mountains covered in cacti and matted grass.

I heard the creaking of a tree warming under the sunrise and watched as the vertical cliffs of clay hills transformed in color—from cool reds to fiery yellows.

Reaching Las Vegas, I realized that I much preferred looking at the sky and the bark of trees over fountains, and that the most important thing is to preserve silence. I stopped by a gathering of pastelists at the Red Rock Pastel Society to visit Dasha Jamison, and soon after, flew home to unpack new brands of pastel and materials from the convention.

At the end of June, I had some time to work in the studio and curate selections for the French exhibitions.

Then came France and the exhibition in Feytiat. I was fortunate to take part in setting up the exhibition, where four presidents of pastel societies spent several days working on the layout. In the evenings, we played pétanque in the quiet garden of an old house outside the city.

It was a wonderful time of harmony and balance between work and simple living. The experience of preparing a major exhibition was an invaluable gift from Liliane.

In Feytiat, my painting won the grand prize, and I felt terribly awkward in front of the French audience. For some reason, I had bought a pair of heels, which only made me feel even more self-conscious—tall from the heels, slender, and carrying a massive box of Girault pastel.

In July, I made a brief trip to Saint Petersburg for a filming session with the Lectoroom school and a meeting with artists. By August, I was back in France for an exhibition in Brittany.

To be continued…