I may use my artistic license to change or omit certain objects to create a better composition and bring clarity to the message I want to convey with my work. The process starts with an idea or a story and my visualization of it, then I will do several sketches, color studies on location, research on the subject and talk to the people who are familiar with the history of a location or the subject. When you set out to paint a scene, do you mostly paint exactly what you see? Or do you allow yourself to significantly modify things as it suits you?Īctually, a lot of work on a painting starts way before a brush touches the canvas. In my two recent paintings of the Wenatchee Valley with the Confluence Health Hospital in the center and the Red Apple Wildfire I express my gratitude and prayer for the local health care workers, first responders and firefighters.
Every subject matter is selected carefully and designed with a meaning or a story behind it. Is there a concerted aim to play with those juxtapositions or has that happened more organically?Īs a traditional painter, I would always gravitate to the traditional subjects, but I do not choose random objects or scenery. Many of these pieces combine elements of nature along with rustic buildings, dormant factories and bridges. I’m presenting several new paintings finished over the last year and a half that mostly reflect life in the Valley, joys and struggles of the pandemic. The name is a takeoff from the documentary titled “In The Valley of Sin” that described harrowing claims of child abuse in Wenatchee from over 20 years ago. My new art show is called “In The Valley of Grace”. Tell us about your upcoming show at Mela? After taking a break from painting in my 20s to go to a law school and to build my new life in the United States, I came back to my passion for art a few years ago with a new vision and increased commitment. In recent years, I saw the renowned art collections of the Metropolitan Museum in NY, as well as Chicago’s and Washington DC’s galleries. Throughout my life, I was fortunate to travel and visit the most famous Art Museums in Moscow and Saint Petersburg where I observed and studied works of not only many Russian Masters but also the most influential masterpieces by Italian Renaissance, Flemish and French painters, from Raphael to Monet. My art education was based on the traditional curriculum with many hours of drawing human bodies, anatomical casts, architectural studies and plein air work. Later on, I enrolled into a City Art School where I was fortunate to study under a very accomplished painter and sculptor, Israel Ginsburg. This convinced the teacher to allow me to stay. Not taking “no” for an answer, my mother promised the teacher that she would stay with me in class and supervise. She took me to a kids’ art school in my Russian hometown, but they said I was too young. When I was 6 years old, my mother noticed that I was always doodling something. Talk about your progression through the art world - when you got started, what art (artists/style) spoke to you early on? Was your path always steered toward painting for the most part? And did you zig and zag your way to your current style, or was this what you set out to do all along? I reached out to the artist to talk about this show and to learn about her style and inspiration to pursue a higher calling through her work. Syssoeva will be premiering her new collection titled “In The Valley Of Grace” this coming Friday (9/3) at Mela in downtown Wenatchee. Local (by way of Russia) painter Sasha Syssoeva can often be spotted out in the wild, skillfully and purposefully capturing local landscapes, churches, urban settings and just about any scene where she finds beauty, dramatic lighting and texture, “and sometimes melancholy atmosphere.” All with an unwavering connectivity to her spirituality and faith.
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