Darya Permyakova

Year of birth: 1994
Where do you live: Russia, Saint-Petersburg
Your education: Master of Economics
Describe your art in three words: the other side (of aesthetics)
Your discipline: realism (canvas, oil)
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Darya Permyakova | Alice Through the Looking-Glass | 2024

Your path to becoming an artist has been quite unique, starting with a background in economics. How did you reconnect with painting after a break?

I came into contact with painting quite early. At the age of 9 I went to art school, as I loved to draw from my very infancy. I got a diploma from the pre-professional general education program in the field of fine arts “Painting” at the age of 15. At that time, I was already faced with the question of my future career. I needed to plan my admission to a university. In my dreams I wanted to master the creative profession of a designer. Nevertheless, a pragmatic approach prevailed and I entered the University of Economics, where there was no time left for art.
In 2022 I returned to my passion. I came to the space for independent artists “Masterskaya”, where the hobby grew into a serious interest and became part of my biography. The return happened thanks to my (then future) husband. He is also fond of painting. Till this days I like to spend time together with canvases and paints.
In the “Masterskaya” I found not only all the materials for creativity and advice from a professional mentor, but also a cool community of like-minded people. Together we discuss ideas for new paintings, study the history of art, get acquainted with the canvas of contemporary artists, visit exhibitions and art mediations. Such an environment maximally contributes to the development of creative abilities and motivates to create new works.

You mentioned a deep love for portraiture. What is it about capturing a person’s face that speaks to you most in your artistic practice?

My special love in painting is portrait. Portraits are not just a picture of a person, but a whole story that the viewer can read in the eyes, facial expressions and every wrinkle. I am always amazed at how easy it is to recreate an image with photographic accuracy and emotional depth on canvas using just a few artistic techniques.

Darya Permyakova | Coat check attendant | 2023

Your work often portrays subjects that stray from conventional notions of beauty. What draws you to these non-standard representations?

In a process of creating portraits I am interested in characters that are far from the standard idea of beauty, because they can tell much more. They are the same as everyone else, but different. In my canvas I encourage viewers to be a little more attentive and notice details. Even in an image that is ugly at the first glance, you can find something amazing. Beauty is in the eye of the beholder.

How do you approach the process of painting a portrait? Is there a particular emotional or psychological depth you aim to convey through your subjects’ expressions?

The process of my canvas creating begins with searching for references. I can be inspired by the works of photographers, literary or cinematic images. As a rule, all the characters that I draw have a special story under their belts that I strive to convey. I manage to achieve this effect, when the portrait “speaks” to the viewer through emotions. Every wrinkle can convey the feeling that will subsequently resonate with the viewer. Everyone will see their own depth there.

Darya Permyakova | Hypertensives | 2023

You’ve mentioned seeing beauty in places where others might not look. Can you share an example where you discovered beauty in something unexpected?

At the intersection of the beauty and the horror something very interesting is born. That’s why I look for beauty in unexpected places and convey a view of things from the other side, sometimes even from the inside. For example, my work “Once Upon a Full Moon”.
Since ancient times people have sought to live in harmony with the cycles of nature, communicated with the patrons of the elements through various rituals. The full moon has long been considered a powerful energy day in many cultures. Most magical rituals and spells had to be carried out on the full moon, since on this night the moon gives the sorcerer special powers.
The painting depicts a rather frightening ritual. A witch works with fire and, judging by the general atmosphere, is plotting something evil. The whole action takes place on the river bank against the backdrop of a beautiful landscape. This creates a balance: the beauty of natural phenomena and the fear of evil witchcraft.

Your works seem to have a personal story behind each subject. How do you decide what narrative or emotion to explore with each piece?

I don’t decide what theme or emotion to explore because my characters decide it for me 🙂 I am fascinated by every image that I embodied in my works.
For example, the canvas “Hypertension” (inspired by the characters Floki and Ragnar from the TV series “Vikings”). Initially, I was simply “hooked” by the image of stern Scandinavian men. During the process I delved into their history, sea voyages and conquests, their deep spiritual connection with nature and sacred rituals. In the process of writing the tattoo on Floki’s head, I even studied ancient runes 🙂 I transferred all this experience of wise conquerors to canvas and reflected on their faces.
The painting “Hypertension” exists with augmented reality. I have created the fragrance “Norwegian Fjords” based on the idea of the portrait. In this case, I added an olfactory component to the visual component. This scent combines all the characteristic features of the northern majestic nature. I attached a description of the scent separately.
By the way, about the history of the strange name of painting. In the process of writing the canvas, I could not accurately convey the tone of the stern, weather-beaten Scandinavian faces for a long time. Therefore, a joke was born that these guys have fluctuating blood pressure 🙂

Do you see your work as a reflection of your personal experiences, or do you prefer to leave interpretation open to the viewer?

Of course, each canvas is a reflection of my own experience. However, this does not prevent the viewer from interpreting it through their own experiences.
For example, the canvas “Wardrobe Mistress”.
Firstly, where does this name come from?
This vivid character is a flashback from my school life. Every morning in the cloakroom my classmates and I greeted Aunt Zina, who hung up clothes. She looked more or less like the character at the painting: hair styled in curlers, blue eyeshadow, flashy manicure, a “cheerful” blouse and a dull look.
For me this is a reflection on the topic of self-realization.
Who was this woman in her youth? What did she dream about? Who did she want to be when she “grew up”? And who did she become? Did her expectations about herself come true? Could things have turned out differently? Is this really her place in live?
Even if the viewer did not have such an eccentric familiar person, everyone will be able to see in her a reflection of their thoughts and feelings.