Anna Stolbova

Year of birth: 1977.
Your education: Higher education in law.
Describe your art in three words: Detail, philosophy, emotion.
Your discipline: No specialization—I can draw ANYTHING. Specialization limits creativity.
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Can you share your journey as an artist, particularly how your experience with Dymkovo toys influenced your creative vision?

I have always drawn, ever since childhood—in school during lessons and in college during lectures. Although my primary profession (lawyer) has no connection to the path of an artist, it didn’t stop me from periodically continuing to draw for myself.

Alongside my legal work, I spent a period of about 15 years professionally creating Dymkovo toys. Over time, I feel I outgrew Dymkovo toys. After all, it’s more of a craft than serious creativity. I began to crave new colors, different textures and materials, and freedom in the creative process, as Dymkovo toys are quite strictly regulated by the ancient traditions of folk art, leaving little room for creativity.

What inspired you to pursue hyperrealism and join Aron Honore’s Academy of Hyperrealism?

I stumbled upon Aron Honore’s Academy of Hyperrealism, quite by chance, you might say. I was simply bored and searching for something to inspire me—something to spark excitement and interest, something completely new to learn. I sincerely believe that life is a continuous process, and anything that stops moving either dies or regresses. For this reason, I prefer to keep moving, learning, discovering, and creating while I have the chance. Hyperrealism intrigued me because of its complexity, the technique involved, and the stunning results.

The theme of ‘Eternity’ is central to your work. How do you translate this abstract concept into your art?

I wouldn’t say that eternity is a central theme in my work, but it does play a significant role. I find abstract ideas fascinating and take great pleasure in philosophy and theosophy. Like anyone inclined toward philosophical thinking, I often entertain myself with thoughts and theories about how everything is structured, what lies beyond, and the essence of human life. As such, my works frequently touch on people’s subconsciousness—their fears, hopes, and expectations. I enjoy evoking subconscious emotions in people through my art.

Your work evokes the idea of forgotten gods awakening. What emotions or thoughts do you hope to elicit in viewers through this imagery?

I mostly express my own emotions and reflections. I am fascinated by the world in its subtle manifestations, intrigued by what people believe in and the reality behind those beliefs. These themes often appear on my canvases.

What techniques or materials do you use to create the striking texture and depth in your paintings?

I work with acrylics. It’s a rather challenging medium with its own peculiarities, but that makes it all the more interesting to work with. The hyperrealism technique allows for the creation and amplification of a sense of reality, volume, and depth in a painting through meticulous attention to textures, the tiniest details, and enhancing the effects of light and shadow.

How do you balance the intricate details of hyperrealism with the conceptual depth of your themes?

Hyperrealism is a technique. It is not directly connected to the depth of a painting’s theme. In hyperrealism, you can depict a simple shovel or “the theory of creation,” and both works will be hyperrealistic and uniquely remarkable in their own way.

What role does mythology or spirituality play in your creative process?

The theme of mythology and spirituality has always greatly interested me. I enjoy studying it periodically, so it often emerges in my work. I’m not interested in creating “empty” paintings without a second layer of meaning or a backdrop for contemplation.