MASK ON A DISTORTED FACE

The creative work of the professor of the Russian Academy of Theatre Arts, member of the Russian Academy of Arts and winner of the State Prize of Russia, Natalya Nesterova, is now widely known throughout the world. Her paintings are kept in the collections of renowned museums such as the Tretyakov Gallery in Moscow, the Russian Museum in St. Petersburg and the Solomon R. Guggenheim Museum of Modern Art in New York. Nesterova's works are in demand at prestigious auctions, including famous Sotheby's. The artist herself lives and works, feeling quite comfortable, in Moscow, New York and Paris. Nesterova's works are called art between "masquerade and comedy". The artist herself believes that they balance "between masquerade and tragedy". Recently, the Centre for Contemporary Art in Baku successfully hosted her solo exhibition. In an interview with R+, Natalya Nesterova talked about her vision of life and the philosophy of her paintings.

- This is your first exhibition in Baku, but not your first visit to our city...

- Yes, indeed, I first visited Baku last year at the invitation of Nargiz Pasayeva. I was absolutely fascinated by your city and your people - hospitable, smiling and very emotional. I love it here.

- If you decided to dedicate one of your paintings to Baku, what sort of picture would come out?

- I never write anything specific. I usually transfer to the canvas my memories or associations with any event in my life or a phrase in the book, into which the writer has put a certain sense. It's hard to explain in words exactly how it happens. It's like a revelation, a sudden thought. Sometimes I'm inspired to work by a dream or some experience. And then I just sit down in front of the canvas and start painting. What would I write in memory of Baku? The sea, sun and ornate streets of the Old City. That's how I remember it.

- Do you have any work with which you would never part?

- Of course, I love all my works, but I'm not greedy and I can easily donate or sell them. I think for any creative person, whether it's an artist or writer, it's important to understand that his work is in demand. After all, we're creating not for ourselves but for people. And, of course, we want our work to be seen, heard and felt. I often put on canvases my impressions of the cities I've been to. But even in these landscapes, I'd like to convey at least a shred of human presence. Let it be a fragment of the hand or face.

- Your paintings are very vivid and emotional. It seems that you an optimist by nature?

- Not really. I'm a pessimist. For me, life is just a tragedy. Unfortunately, in recent times there's so much evil, misery, lies and death around. But I'm really trying to make sure that my works don't torment people. My pessimism in life turns into optimism in my works. My art is between "masquerade and tragedy". A masquerade is a kind of way to cover this tragedy and put a cheerful mask on a distorted face.

- Where do you see this tragedy?

- For me - it's my loved ones who are leaving, my time which is passing, loss of power and interests. And I no longer have hopes linked to the future. I often look back on the past, because what happened before is of great value for me. Looking back, you remember what you loved. Maybe I just don't know how to look forward. Maybe I'm just afraid. But it's not so bad. I have lived a happy life. I have a favourite job, a son who helps me in everything, I can travel and work anywhere in the world, and I have a lot of good and talented friends.

- Whom do you regard as your teacher?

- I regard my grandfather - artist Nikolay Nesterov, who studied with Falk and had an exhibition at Blue Rose, as my only teacher. I loved to look through the album of the Museum of Western Art kept at home. I knew almost from infancy about the works of Derain, Van Gogh, Matisse, Gauguin, Dufy, Marquet and naturally Cezanne. So I was brought up first of all with French art. Granddad drew for me and watched me draw. He died when I was seven years old. His death was a real blow to me. I suffered a lot and was not able to recover for a long time. I still can't come to terms with his death. He was a very important man for me. You know, I carry all my life what he invested in me. He set my thoughts and feelings in motion.

- What did you get from your architect parents?

- Perhaps the ability to distinguish the most important thing in detail and see what is hidden behind strokes and lines. Architecture is a frozen rain, frozen clouds, and there are no fine lines in architecture. It seems so. It is also beautiful. I believe that each work must have some oddity that makes it mysterious.

- Which of world artists has this very oddity?

- I think all Renaissance masters - Chagall, Tischler, all talented and ingenious ones. Creative people are all strange, and they are not of this world.

- Is there art that you reject?

- I'm against vulgarity and stupidity. I think this is one of the worst vices - both in life and in art.

 - And what do you think needs to be done to ensure that people choose high-quality art rather than "mass-produced stuff"? 

- Communicating with any art is a habit. And it should be fostered from childhood. You need to learn to see and understand. Art is like a foreign language: you repeat it a hundred times and understand it from the one hundred and first time. Children are in fact like a blank sheet of paper. Whatever you draw or write on it, you will see and read it later. Love of beauty needs to be fostered from an early age. The sooner you do this "vaccination", the healthier the baby will be...