RUS
RUS
Not long ago, very recently in fact, I woke up as usual and got up and turned on the TV and out of nowhere the realization hit me, one that shook my foundations, the realization that we are losing God!
Not long ago, very recently in fact, I woke up as usual and got up and turned on the TV and out of nowhere the realization hit me, one that shook my foundations, the realization that we are losing God!
WORKS
"Jupiter"
canvas / oil / 90 х 160 cm
"The Crater"
canvas / oil / 75 х 105 cm
"Crimson sea"
canvas / oil / 100 х 70 cm
"The Phenomenon"
canvas / oil / 60 х 100 cm
"Io"
canvas / oil / 100 х 100 cm
“The Milky Way”
canvas / oil / 90 х 160 cm
“A Matter of Time”
canvas / oil / 60 х 100 cm
“The Robot and the Waterfall”
canvas / oil / 70 х 100 cm
"The Sun"
canvas / oil / 100 х 100 cm
"Wildlife"
canvas / oil / 60 х 100 cm
"The Earth"
canvas / oil / 100 х 100 cm
"The Solar Eclipse"
canvas / oil / 90 х 160 cm
"Jupiter"
canvas / oil / 90 х 160 cm
"The Crater"
canvas / oil / 75 х 105 cm
"Crimson sea"
canvas / oil / 100 х 70 cm
"The Phenomenon"
canvas / oil / 60 х 100 cm
"Io"
canvas / oil / 100 х 100 cm
“The Milky Way”
canvas / oil / 90 х 160 cm
“A Matter of Time”
canvas / oil / 60 х 100 cm
“The Robot and the Waterfall”
canvas / oil / 70 х 100 cm
"The Sun"
canvas / oil / 100 х 100 cm
"Wildlife"
canvas / oil / 60 х 100 cm
"The Earth"
canvas / oil / 100 х 100 cm
"The Solar Eclipse"
canvas / oil / 90 х 160 cm
ABOUT
MILZ is an artist who hails from the depths of the Siberian taiga near the crystal clear Lake Baikal. Before finally taking up painting at a professional level he had, for a very long time, worked actively in several areas of what could be termed as “artistic disciplines”: design, music, video production, choreography, and the art of putting on shows. Only when finally reaching the depths of adulthood and under constant pressure from his life experiences, did MILZ feel that he was truly and finally ready to approach the canvas and brushes, and thus engage in his beloved art of painting. Covering his face with a mask, just like a medieval knight or a Marvel superhero before taking off on a long campaign, he began his journey and entered the world of fine art.

MILZ was strongly influenced by comics and street art as well as by the bold manners of French Impressionists and the techniques found in American pop art, something which is especially evident in his manner of storytelling. Some of his techniques he borrowed from them: his bright and open colors, the use of drunken brush strokes and his graphic and stylized elements, which have the feel of encrypted manifestos on advertising posters. Another unique element in the communication of thought that can be found in the author's work is the clear influence of space and the cosmos, something which the artist has been truly deeply in love with since his early childhood. In his attempts to describe the modern problems
MILZ is an artist who hails from the depths of the Siberian taiga near the crystal clear Lake Baikal. Before finally taking up painting at a professional level he had, for a very long time, worked actively in several areas of what could be termed as “artistic disciplines”: design, music, video production, choreography, and the art of putting on shows. Only when finally reaching the depths of adulthood and under constant pressure from his life experiences, did MILZ feel that he was truly and finally ready to approach the canvas and brushes, and thus engage in his beloved art of painting. Covering his face with a mask, just like a medieval knight or a Marvel superhero before taking off on a long campaign, he began his journey and entered the world of fine art.

MILZ was strongly influenced by comics and street art as well as by the bold manners of
of the present and the future and in any plot line, even the most mundane, MILZ communicates through the prism of cosmic aesthetics and futurism. This is something which in fact most accurately reflects our new era: an era of high technology, lightning speeds and a heightened pace of life.

All of the artist’s paintings in his latest collection are, in one way or another, connected with social themes on a global scale. The cosmos is all encompassing, the universe is infinite, and our little tiny planet is nothing more than a small trembling ball that needs protection from those who would be more than happy to inhabit it. Unfortunately, most of humanity does not think in such ways or in such categories, but continues to: "play” their games of war and civil strife, unthinkingly and primitively use the material riches of the planet; endlessly pollute it, and never, never in a million years do they look up at the sky, where the delightful Milky Way continues twinkling away.

As an artistic device and technique, MILZ uses white figures that look like TV interference and snow. When a TV is working well, there is no interference, and vice versa, and so it is in life. While speaking in the international language of artistic imagery, MILZ also uses digital icons, things which in fact accompany all of us in our everyday lives. These symbols and the cosmic objects he uses are an attempt to express on canvas a deep concern regarding the incorrect and faulty connections in the relationships now present between man-nature-mankind. The author hopes that his paintings will help people to once again think about what we are doing wrong, and also inspire everyone to finally raise their eyes to the sky and look at the stars above.

MILZ describes the events he portrays as he understands and feels them, offering his version of the truth to be brought to our attention, something like a reflection, seen in the chromed lenses of his own mask.

P.S.
MILZ: "While working on my new series of paintings, I was constantly imagining that someday all of the bad and terrible things in the world would disappear and come to an end... That there would be no more wars or epidemics, no more catastrophes, shocks, deceptions or hypocrisy and that bright times would finally come for all of us. If such things occur there will be positive changes in my work and the “indigo” period will end once and for all, the interference will finally disappear and I will exhale a deep breath of relief and stop portraying all that is terrible and all-encompassing. That will be the beginning of a new stage in my life, where I will be able to blithely portray things that are simple and wonderful, for example, the sunrise of the summer sun through a gentle mist over a field of emerald grass outside of my window."
French Impressionists and the techniques found in American pop art, something which is especially evident in his manner of storytelling. Some of his techniques he borrowed from them: his bright and open colors, the use of drunken brush strokes and his graphic and stylized elements, which have the feel of encrypted manifestos on advertising posters. Another unique element in the communication of thought that can be found in the author's work is the clear influence of space and the cosmos, something which the artist has been truly deeply in love with since his early childhood. In his attempts to describe the modern problems of the present and the future and in any plot line, even the most mundane, MILZ communicates through the prism of cosmic aesthetics and futurism. This is something which in fact most accurately reflects our new era: an era of high technology, lightning speeds and a heightened pace of life.

All of the artist’s paintings in his latest collection are, in one way or another, connected with social themes on a global scale. The cosmos is all encompassing, the universe is infinite, and our little tiny planet is nothing more than a small trembling ball that needs protection from those who would be more than happy to inhabit it. Unfortunately, most of humanity does not think in such ways or in such categories, but continues to: "play” their games of war and civil strife, unthinkingly and primitively use the material riches of the planet; endlessly pollute it, and never, never in a million years do they look up at the sky, where the delightful Milky Way continues twinkling away.

As an artistic device and technique, MILZ uses white figures that look like TV interference and snow. When a TV is working well, there is no interference, and vice versa, and so it is in life. While speaking in the international language of artistic imagery, MILZ also uses digital icons, things which in fact accompany all of us in our everyday lives. These symbols and the cosmic objects he uses are an attempt to express on canvas a deep concern regarding the incorrect and faulty connections in the relationships now present between man-nature-mankind. The author hopes that his paintings will help people to once again think about what we are doing wrong, and also inspire everyone to finally raise their eyes to the sky and look at the stars above.

MILZ describes the events he portrays as he understands and feels them, offering his version of the truth to be brought to our attention, something like a reflection, seen in the chromed lenses of his own mask.

P.S.
MILZ: "While working on my new series of paintings, I was constantly imagining that someday all of the bad and terrible things in the world would disappear and come to an end... That there would be no more wars or epidemics, no more catastrophes, shocks, deceptions or hypocrisy and that bright times would finally come for all of us. If such things occur there will be positive changes in my work and the “indigo” period will end once and for all, the interference will finally disappear and I will exhale a deep breath of relief and stop portraying all that is terrible and all-encompassing. That will be the beginning of a new stage in my life, where I will be able to blithely portray things that are simple and wonderful, for example, the sunrise of the summer sun through a gentle mist over a field of emerald grass outside of my window."
CONTACTS
info@milz.gallery