Artist and illustrator.
Lives and works in Moscow.
Winner of the Prize Excellence Award ( "For excellence") at the International Biennial of watercolor in Shenzhen (China) and Redfern Gallery Prize at the competition of the Royal Society of watercolor (London). Grand Prix "The prospect of watercolors" at the international exhibition "Masters of watercolors - 2015".
The diploma of the first degree at the All-Russian contest "Book Art. Traditions and search" for the artistic design of the book by Jules Verne's "20,000 Leagues Under the Sea."
Has watercolor always been your technique?
Yes, I always used watercolor, but a long time, the process was different. I worked on the book illustrations. It was a very painstaking graphic sheets. Now I paint completely free of meticulous detail things.
How did you switch to a large format?
I didn`t. Even my original illustrations were always several times larger than in the a book.
Are your paintings united in series by some idea?
Yes. There is an idea that emerges and that just does not fit in one painting work, this is how a series emerges.
What appears at first - an idea or a formal desision? Does it happen that some abstract design idea gives a theme and a name to a series?
No, it does not happen, the idea always in mind before you start. For me, all attempts to act in reverse order look like something artificial.
What is the percentage of spontaneity and planning when working on the painting?
A huge percentage of spontaneity. That's all that brings joy! I always work on wet paper without a pencil draft, so that nothing paralyzed the process. A thought can always wag and the whole idea can change, at this point you do not want to see on paper any limiting sketch.
How do you feel about the finished work? Do you feel any connection with them?
Do you have limits or regulations in working with watercolors?
Definitely no prohibitions. No regulations, too... The only thing - I usually make no amendments, when a layer of paint has dried. I proceed quickly.
Do you use flat or round brushes?
Any brushes.
Do you see the works of other artists?
Rarely.
What did you give the reward in the Shenzhen Biennale?
Great joy and a trip to China.
Your advice for beginners watercolors.
Be brave and sincere in your work.
Lives and works in Moscow.
Winner of the Prize Excellence Award ( "For excellence") at the International Biennial of watercolor in Shenzhen (China) and Redfern Gallery Prize at the competition of the Royal Society of watercolor (London). Grand Prix "The prospect of watercolors" at the international exhibition "Masters of watercolors - 2015".
The diploma of the first degree at the All-Russian contest "Book Art. Traditions and search" for the artistic design of the book by Jules Verne's "20,000 Leagues Under the Sea."
Polina Egorushkina
Has watercolor always been your technique?
Yes, I always used watercolor, but a long time, the process was different. I worked on the book illustrations. It was a very painstaking graphic sheets. Now I paint completely free of meticulous detail things.
How did you switch to a large format?
I didn`t. Even my original illustrations were always several times larger than in the a book.
Polina Egorushkina. Sleep! 80x100 cm 2015
Are your paintings united in series by some idea?
Yes. There is an idea that emerges and that just does not fit in one painting work, this is how a series emerges.
What appears at first - an idea or a formal desision? Does it happen that some abstract design idea gives a theme and a name to a series?
No, it does not happen, the idea always in mind before you start. For me, all attempts to act in reverse order look like something artificial.
Polina Egorushkina. Boulevards. 80x100 cm 2014
What is the percentage of spontaneity and planning when working on the painting?
A huge percentage of spontaneity. That's all that brings joy! I always work on wet paper without a pencil draft, so that nothing paralyzed the process. A thought can always wag and the whole idea can change, at this point you do not want to see on paper any limiting sketch.
How do you feel about the finished work? Do you feel any connection with them?
Of course. They are all very dear to me. I remember what mood I had in each work, what were troubles at work. And I like to see how it all came together in the end.
Polina Egorushkina. Empty. 80x100 cm 2015
Do you have limits or regulations in working with watercolors?
Definitely no prohibitions. No regulations, too... The only thing - I usually make no amendments, when a layer of paint has dried. I proceed quickly.
On what paper do you work?
Arches, Canson
Arches, Canson
Do you use flat or round brushes?
Any brushes.
Polina Egorushkina. The Grey Skyscrapper. 80x100 cm 2014
Do you see the works of other artists?
Rarely.
What did you give the reward in the Shenzhen Biennale?
Great joy and a trip to China.
Your advice for beginners watercolors.
Be brave and sincere in your work.
