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Tatyana Plakhova

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I do not know how ill people react to my art. But I do know that children love these pictures. In many paintings, I paint peace, the long-lost fortune of the Western Europe. And peace is the most healing experience.

Tatiana Plakhova
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Your work is always the result of an abstract vision of the world. Do you place within a picture a meaning, a certain character that can decrypt and decipher your messages?
If you can imagine the world as a vast flow of information described by lines and spots then, suddenly, you will get what I paint. The world is composed of lines. And looking at the universe in this way, the star and the atom are equal points. Interesting, but hard to say that they are not. And music is composed of dots and lines; its motives and rhythms. Patterns captivate us, this repetition of lines and spots over and over. That is, the code is very, very simple!
How will you represent your work in the future? Could it be physically feasible visualization?
Most likely it will be an installation piece, a projection, with architectural elements and forms.
Can you draw such abstractions using pencil or ink; do you devote time to fine art?
Sometimes I start with a series of pencil sketches. I use ink less, but paint patterns I use on my rancho. The process is fairly entertaining.
Are there any pieces of your art that you have devoted to love, death, birth, homeland or politics?
Oh! There are more than meets the eye. Politics, of course, is not so… But there are so many about love. I’m a romantic. And mostly all my work is about love.
By the way, if you had a chance to become a politician, would you take this opportunity? Can a person fully engage in only one livelihood?
I think it depends on the individual. I would not be able to…
We are always confronted with negative views, personal opinions and criticism towards our work. How often do you hear a negative opinion about your work?

At first, everyone said that I made alien pictures, completely divorced from reality. After several series of works of mathematical design, on science and info graphics, this criticism subsided.
When is human life boring and miserable?
When you are selfish and lack aspirations.
What do you refuse or relinquish in order to draw so magically?
I paint at night, while the city sleeps.
Do you participate in projects that parallel other artists? I mean, are you open to collaboration with other designers and artists? Could you share?
I am open to cooperation. Currently, I am involved with a series called “Another California,” which includes collaboration between myself, a photographer from NY, a designer and artist from SF and features a musical project from multi-disciplinary artist, Paris Kain. One example of our work is “Know Thyself.”
Is there a planet, mathematical symbol or any other subject you could compare yourself to or would like to be, to feel like?
All items are unrealistic anyway; I do not think I would like to compare myself with something unreal.
Did you always know you would become an artist or was there a point of where you decided that art was your calling?
I was dreaming about it.
Drugs are….

One of the million pleasures of meditation.
Do you have any rules or pieces of wisdom you want to share?
Do not try and draw to express negative emotions. Work out of a sense of harmony, the magnificent order and beauty of this world.
How would you like to be remembered after death?
I have no idea…


Тебе задавали множество вопросов, но есть ли у тебя что-то сказать о себе, творчестве или любом другом предмете, чем ты хочешь поделиться, высказать своё мнение, но никто не задал этого вопроса?
Думаю да. Это вопрос о математике. Это самое абстрактное и реальное, что есть. Цифр нет в этом мире. Это чистая и красивейшая абстракция. Эти несуществующие абстракции и описывают все вокруг. Я все больше прихожу к выводу, что вся тайна мира заключена как раз в номерах.
Твои работы это всегда результат абстрактного видения мира или ты вкладываешь в изображение определённый смысл, определённый символ и работы можно расшифровать и прочитать назначенное сообщение? Если есть такие работы, сможешь ли показать эти работы, расшифровать их?
Если представить мир как огромные потоки информации, и описать их через точку и линию, то, как раз, получится то, что я рисую. Как некие линии мира. И, глядя на вселенную таким образом, звезда и атом становятся точкой. Интересно, но трудно сказать, что это не так. И музыка это нотные точки и линии, это мотивы и ритмы. Паттерны, завораживающие нас, как повторение этих мотивов. То есть шифр очень и очень прост!
Какое применение вашим работам ты видишь в будущем? Может ли это быть материально осуществимыми визуализациями? Например, скульптурами, инсталляциями? Машинами?
Скорее всего, это инсталляции, проекции, архитектурные элементы и формы.
Можешь рисовать приблизительно подобные абстракции карандашом, красками и посвящаешь ли Вы время для fine art?
Иногда я начинаю серии с карандашных набросков. Красками рисую меньше, но расписываю паттернами свой загородный дом. Процесс довольно увлекательный.
Есть ли работы в твоём творчестве работы, которые ты посвятила любви, смерти, рождению, родине, политике?
Ох! Их больше чем кажется на первый взгляд. Политике, конечно, не так чтобы.. А любви очень многое. Романтической. А так все работы о любви.
Кстати, если бы у тебя был шанс стать политиком, использовала бы этот шанс или человек может принадлежать в жизни только одному занятию полноценно?
Я думаю, зависит от конкретного человека. Я бы не смогла…
Мы всегда сталкиваемся с отрицательными мнениями, критикой по отношению к нашей деятельности. Насколько часто Вы слышите негативное мнение о вашем творчестве? Что именно приводят в пример как недостаток?
По началу все говорили, что это инопланетные рисунки, полностью оторванные от реальности. После нескольких серий работ математического дизайна, серий на тему инфографики и науки, данная критика поутихла.
Что человека в жизни сделает несчастным?
Эгоизм и отсутствие устремления.
Отчего Вы отказались или отказываетесь в жизни, чтобы волшебно так рисовать?
Само собой получилось, что я рисую по ночам, пока город спит.
Участвуете ли Вы в каких-то экспериментальных проектах параллельно? Насколько Вы открыты для сотрудничества с другими дизайнерами, художниками? Если такие проекты есть, поделитесь?
Я открыта к сотрудничеству, есть серия “”Another California”, сделанная с фотографом из NY, сейчас сотрудничаю с дизайнером и художником из SFO по одному музыкальному проекту, из с многопрофильным художником Paris Kain, пример одной из наших работ “Know Thyself”
С какой планетой, математическим символом, любым другим предметом вы бы могли себя сравнить или хотели бы стать им, ощущать его?
Все предметы так или иначе нереальны, не думаю, что хотелось бы сравнивать себя с чем-то.
С чем вы не согласны? ПРОТИВ?
С обыденностью, бесконечным повторением одного и того же, массовой культурой, не направленной на развитие, отсутствием образованности и стремления к ней.
Вы всегда знали что будете художником или это случилось в определённый момент Вашей жизни? Планируете ли в будущем создать, практиковать, открыть себя в новом стиле?
Я мечтала об этом. У меня много идей о новых стилях, или скорее о следующих реализациях уже созданного. Я иногда картины воспринимаю как наброски для будущих идей.
Наркотики – это.
Одни миллионная часть удовольствия от медитации.
Какая у Вас связь с Америкой?
У меня там идет несколько проектов по работе, один из них музыкальный. И несколько очень таллантливых друзей художников в разных сферах. И правтически все коммерческие проекты проходят в штатах.
Какие правила или какая мудрость управляет Вашей деятельностью? Поделитесь?
Не пытаться рисовать и выражать негативные эмоции. Работать из чувства гармонии, великолепного порядка и красоты этого мира.
Чтобы Вы хотели, чтобы о Вас помнили в первую очередь как о художнике, после жизни?
Понятия не имею.


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Ugliness. This individuality. This is strange. This is – “What is it?” This is news. This is information.

Pasha Setrova
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Pasha, where is the demarcation line for obscenity in modern culture?

Shame does not exist. There is merely a
subjective attitude toward things that can
trigger emotions. If a man clings to his
Puritanism, while acting as a hypocrite with
false standards of “good practice”, this person
will be condemned by himself and by others. His
conviction will be subject to criticism by any
human expression that does not coincide with the
“accepted moral framework.” Culture of your
naked body – for what and for whom do you
undress? My stripping is pure and innocent
because I feel no shame. My mother and relatives
like my pictures, they do not condemn me because
they know the boundaries of one body – -the
subject of art (which is shown)–and the second
body – my personality (with whom they
communicate). They’re two different people. Who
is my audience? The man who sees a naked nipple
as more than the subject of a “jerk”. My
audience – -adults formed inside people ready to
perceive art. The spectator who can read
characters that I can convey to them.

Your dolls often express anger and indifference.

My dolls are just a metaphor. You’re giving them a negative message. For example, to those watching, let’s say it’s a comedy: the girl had bricks fall on her, she lost her memory, she became schizophrenic, she a got black eye– we laugh. We convince ourselves that it’s a comedy. We read the characters, as they convince us that it’s a comedy. I created a girl with hematomas, and she scared the audience. But only because the audience was accustomed to seeing the lovely dolls and princesses or cute babies. My art works are metaphorical thoughts. Do not take them literally. Another example is “Sisters,” three girls with different ages inside of one dress. I wanted to show the inseparability of sisters – as Siamese twins. The elder, standing in the middle, she guards the other sisters, despite the fact that she herself has had a child. Maybe this is a tragedy? Have they lost their family? Are they scared? But don’t the Disney cartoons also lose their parents? Bitter, but not terrible. It’s in the perception of others. My series of dolls “Candy shop” shows that the children only have one sin. They are pure, but their sin is sweet. Adults are the ones with all the flaws. And if you turn all the sins of adults into children’s candies, it’s a sweet tear in your mouth. How can I show it, if not literally?

I saw your recent work – African children. The U.S. changes the perception of race and culture, especially where you live, in San Francisco.
Racism exists in Russia; however, confronting this issue does not increase an artist’s popularity. Was this work meant to be provocative for Russians?

Racism. Racism exists everywhere and, of course, in Russia, too. But there are other manifestations as well as perceptions. For example, in Russia, nigger is not considered an insulting word. It only speaks of skin color, but pointing out skin color does not make someone inferior. This is like telling a woman that she is a brunette, or calling a child a child. It’s just that in America they say “black”. The anatomical description. In Russia, the opinion of black culture is different. It is exotic and surprising. Not every Russian has a black friend. In Russia there was no slavery of black people, there were peasants, but also slaves. They were white and quite indistinguishable, practically, with no separate culture. Inseparable from their owners’ culture and religion, as well as appearance. White slavery was abolished, but it didn’t save the country from the revolt of the proletariat. Russia suffered from the proletarian seizure of power. The proletarian became a cult. A special privileged class. But of course, such a system works only in words, ideally, in a utopia. There will always be a majority, preferred class. (Note – I am preparing for the flow of energy and ideas that are ready to give Pasha. She is a dictator, definitely).

How easy or difficult is it for you to defend your position as a contemporary artist, not solely as a person who makes crafts? What is the difference between decorative arts and crafts?

My work is different from those of DAC, in that I always have a mission, a higher ideal. I don’t just make funny animals or children. Each of my works is full of reflection on the world today. And whether it’s a girl with cocaine tracks instead of legs, or a symbol of ineluctable desire, fascinating and at the same time banned (“Hubert Humbert” from Vladimir Nabokov’s Lolita), or “Beaten Glamour” (a play on words – -literally beaten Glamour), “Candy Shop” (children have only one sin – sweetness), or “The Most Devastating Hurricanes” (it’s surprising that hurricanes get their names before they attack, the most destructive of them have women’s names), “Colored children,” ect.

What do you want that people remember about you after you death?

Hopefully people will remember me as a nice guy.


What is your phobia?

I am a hypochondriac. I also have a lot of anxiety when flying in an airplane.

What is the worst comment that you have heard about your art work?

That it sucks.

Which is better for artist: famous or loneliness?

Famous; being lonely is no fun.

Can art save us from suicide?

Honestly, I do not know.

If somebody doesn’t like you, how do you react?

It bothers me. I would be lying if I said I didn’t care.

Jeff Koons sells his art for ten million dollars. What is the essence of creativity and the artist?

I think the essence of creativity varies from person to person. It’s a matter of finding your influences and daydreaming about them.

Would you put your art in a charity auction?

Yes, charity is very important.

What do you know about life at 100%?

Nothing. I think in most cases, though, if you work hard and are a good person, you will be rewarded.

Where do you see yourself 20 years from now?

With more grey hair.



I, like Paiscal Maitre, see the beauty in their way of life; the importance in their simple… presence. Their trees, sunset colors, poverty, hardships and even diseased sores (Africa being the part of the world most highly affected by AIDS) are reflected in this collection. The pain shown, not to celebrate suffering, but to show the presence and depth that comes out of great suffering. I’ve decided to use a raw, unpolished feeling for this collection, like painting loosely with a wide brush. Hopefully inspiring the feeling of catching the kid-doll in a movement… a frozen moment…in which, barely… the breath of the colored children is heard.

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