Dmitry Fesechko

Dmitry Fesechko is a serious young man although his modest demeanour may not display this at first. It’s only when you get to know him and he shows you his work that you realise that you are dealing with somebody who values his art above all else.

True to form, he describes his extraordinary life in rather nonchalant terms. His father, Vladimir was a military man; a ‘judge advocate’ who was constantly being moved from one post to another within the Soviet Union. When in Riga he met his wife, and in 1988 Dmitry was born in a military base with the stirling name of ‘Kuznetsk-8.’ Dmitry spent a lot of his childhood summers in Riga, summers which played a great role in his life. He describes himself as a romantic then, playing in a band and identifying with western rock musicians. “John Lennon was singing: …’I don’t want to be a lawyer mama, I don’t wanna lie…’ in my earphones.”

Decreation of Creation. 50×70. 2017

Dmitry remembers frequent visits to his artist grandfather in Riga. “He was an excellent artist, although he was almost blind. …He was shrouded by the mist of pipe tobacco smoke with some notes of oil paint aromas, painting, pure magic.” Despite such artistic influences at an early age, Dmitry was encouraged to follow his father’s profession and entered law school, an ordeal which he hated but saw through. One day, Dmitry discovered painting and drawing, and began to live a double life; studying law during the day and learning to draw and paint at night. “One of the things I learnt was to sleep no more than 6 hours a night.” He studied colour theory from books, watched videos about the history of art, visited museums, read teach yourself books, drew and painted, frantically.

Skulls

From one of his books he picked up a multi-layer painting technique, and perfected this technique. He showed some examples of paintings he had created using this technique to the artist Vladimir Markov, who took him in as an apprentice. Vladimir taught Dmitry how to draw properly, studying anatomy and generally learning the trade of a realist painter. More courses followed, this time online, and at the end of this learning period, Dmitry found himself working as a digital background artist in an animation project. But he found this consumed too much time, time that he used to paint with oils. “I can’t say that I do not like digital art, but comparing to classical visual art it looks to me rather plastic… not to say that there are not geniuses and true creative spirits working in this genre though. This is just what it was like for me.”

Smoker Of Time

Free to concentrate on his beloved painting of both canvasses and miniatures (Dmitry creates small hand carved figures which he exquisitely paints), Dmitry developed further his experiments with the Flemish seven-layer techniques, and used them to produce almost photo realistic art.

One has Reached Samadhi

He uses mostly oils on his paintings but also applies acrylics, so he is broaching the borders between traditional, classic art and modern art in the sense of the use of modern plastic materials. His hyper-realist paintings run counter to the trend of modern art, which has generally speaking moved away from realism into conceptualism and the use of photographs and photo montage. If you consider, however, Dmitry’s hyper-realistic to be photo-realistic, but which contain more information than photos, then you could say that his paintings are very modern.

As sources of inspiration, Dmitry often refers to immediate experiences he encounters; things as simple as the weather, a film he has watched, a talk with a friend or a memory. Such a working practice is reminiscent of the use of William Burrough’s word machine by David Bowie, and the idea of using random impressions and images so prevalent in the work of post-modernist artists. Dmitry also talks about the importance of artist/audience communication.

Transferring ideas, he uses symbolism giving it secondary meaning. “The understanding of an art piece comes from our current mood and life experience, that’s why different people understand it different ways.” Dmitry says. He thinks that the observer plays the same role as a creator of the art object after it was created. There is no right or wrong way of understanding art and the artist can know himself better listening to different interpretations of his works.

It takes a lot of time not only to paint in multilayer technique but also to dry it. In such breaks Dmitry experiments with expressionism catching transient moments of inspiration. These paintings are usually made with heavy loaded brush or palette knife using impasto technique.

Bull Fights

Whilst on the subject of inspiration, Dmitry does not deny that the culture of the artist does affect the way that he or she paints. “The world is overloaded with globalist art. Coming back to your roots is a very interesting path. I think if you read something from Chekhov, Dostoevsky or Leo Tolstoy you might notice that it is full of self-digging and self-reflection. The language also influences me a lot, and influences the way we are thinking, even if only on a subconscious level.”

Dmitry’s works are (as yet) not expensive. If you wish to become more acquainted with Dmitry’s work, contact him on: art.fesechko@gmail.com

His website:

https://fesechko.artJohn Harrison 22.11.17 © RussiaKnowledge

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