Когда мы отдаём вам Искусство мы отдаём вам часть своей души, в обмен получая всего лишь деньги, чтобы на мгновение почувствовать себя "счастливым". Настоящее же Искусство обреченно радовать на протяжении всего пути владения. Создавая настроение, возможность диалога, дискуссий, смыслов! И если речь заходит о творчестве всё остальное уходит на второй план, ведь оно дано нам от самого Бога.

Introduction

Southern Gothic fiction, rooted in 20th-century American literary traditions, foregrounds decaying societies, religious excess, grotesque violence, and psychological torment (Riant, 2025). Ethel Cain, the musical persona of American artist Hayden Silas Anhedönia, extends this tradition into music and multimedia narrative: Cain’s artistry draws heavily on Southern American religious culture, particularly evangelical Christianity, which she reworks into narratives centered on family trauma and moral decay. Her earlier works like “Inbred” (2021) touch on themes of incest and religious trauma, but her magnum opus is widely considered to be the Ethel Cain trilogy: concept albums about the girl named Ethel Cain, only two of which have been released so far, while the third one (“Preacher’s wife”) was only teased by the artist. Her album “Preacher’s Daughter” (2022) and its prequel album “Willoughby Tucker, I’ll Always Love You” (2025) form interlocking pieces of a fictional universe whose story is focused on a young American girl named Ethel Cain and her religious family that becomes a site of terror and illustrates the worst parts of American society.  

Southern Gothic genre traditions

As a genre, Gothic is characterized by narratives that discuss not only societal fears, but personal ones as well. It concerns itself primarily with the forces that trouble people, the mechanisms of life that unsettle and bring fear into our minds. Gothic literature has us confront the forbidden, the disgusting, the frightening within the societies we inhabit and the lives we lead. Southern Gothic is a distinctly regional form of Gothic, hailing from the American South. As a region, the South has historically been considered America’s “other”, viewed by outsiders as a backward, impoverished land with a legacy of trauma and lingering violence. This in turn informs the cultural output of the region, as seen in Southern Gothic and its preoccupation with the macabre, the grotesque and one’s haunting past (Redding, 2016, p. 79).

The Southern Gothic genre thematically drifts away from classical Gothic through its focus on the specific cultural context of the American South, such as poverty, religion, horror-esque tight-knit family order (Karjalainen, 2025, p. 3). Symbolism and atmosphere, rather than plot alone, draw audiences into landscapes of decline and haunting. Southern Gothic fiction is not merely defined by atmosphere or aesthetics, but by its function as a cultural critique rooted in the historical and social realities of the American South. Unlike traditional Gothic, which often relies on supernatural elements and distant European settings, Southern Gothic grounds its horror in realism, exposing violence, repression, and moral decay as products of everyday life (Karjalainen, 2025, p. 3). This grounding in realism allows the genre to interrogate structures such as religion, family, and community, which outwardly promise stability but often conceal harm. A central feature of Southern Gothic is the prominence of religion as a double-edged force (Karjalainen, 2025, p. 4–5). Christianity, particularly in its conservative forms, is a longstanding source of identity and a mechanism of control. Religious institutions in Southern Gothic interpretation become sites of hypocrisy, repression, psychological violence, as well as a cover-up setting for physical violence, incest and abuse. This tension aligns with the genre’s broader interest in exposing contradictions between public morality and private transgression. The purpose of the grotesque elements in Southern Gothic is to unsettle the audience and disrupt idealized visions of the “American dream”. Rather than functioning as shock value alone, grotesque imagery underscores the inescapability of trauma and the persistence of historical and personal wounds.

Another defining characteristic is the genre’s fixation on family and inherited trauma. Southern Gothic narratives often depict families as sites where violence, silence, and generational suffering are reproduced (Walsh, 2013, p. 24.). The past is never fully past; instead, it lingers and shapes the present through memory, guilt, and unresolved harm. This cyclical understanding of trauma contributes to the genre’s sense of inevitability and doom. Importantly, Southern Gothic is particularly suited to female-centered narratives of suffering and resistance, as the genre exposes how women’s bodies and identities are disciplined through religion, family, and social expectation (Walsh, p. 27). A female protagonist in a Southern Gothic setting can occupy a paradoxical position: she is both a victim of an oppressive system and witness to the moral failures of her community, often even a crucial part of the community itself (abusive mother, pastor’s wife, etc.). Her suffering, as a result and also fuel to the system, reflects the broader cultural decay the genre seeks to reveal. In a way, the female in Southern Gothic is an “other” in its own right, often serving a mystical, barely-noticeable purpose in the never-ending American family horror, being a victim and a perpetrator of it at the same time. The turn that the Southern Gothic takes focusing on Christianity and traditional Christian family as a site of horror positions it as a genre deeply concerned with how personal horror emerges from social systems. This framework is particularly relevant to contemporary reinterpretations of the genre, where traditional literary forms are replaced or supplemented by multimedia storytelling.

Ethel Cain as a Gothic artist

Ethel Cain, the artistic persona of Hayden Silas Anhedönia, occupies a distinctive position in contemporary music due to her deliberate fusion of autobiographical influence, fictional storytelling, and genre-based world-building. Cain has developed an interconnected narrative universe that unfolds gradually across releases. Preacher’s Daughter is a part of a larger fictional framework that Cain has explicitly articulated as a long-term artistic project (The Fader, 2022). This approach situates Cain closer to a novelist or filmmaker than a traditional singer-songwriter. Her slow, atmospheric compositions, extended track lengths, and recurring horror-esque themes serve as narrative tools designed to immerse the listener in a fictional Southern environment. This immersion replaces conventional literary description, allowing sound itself to perform the work of Gothic atmosphere. Cain’s career trajectory is inseparable from her thematic focus on trauma, particularly religious and familial trauma rooted in evangelical culture. Cain’s art repeatedly stages conflicts between individual identity and restrictive social structures, especially those enforced through religion. These conflicts recur across Cain’s body of work, creating continuity between personal history and fictional narrative without collapsing the two into straightforward autobiography. Researchers characterise Cain’s career as a deliberate act of genre positioning, arguing that she consciously situates herself within the Southern Gothic tradition while adapting it to contemporary media forms (Riant, 2025, p. 24–25). Rather than mimicking literary predecessors, Cain translates Gothic conventions: decay, violence, repression, and haunting into musical and visual language. This translation allows her work to engage with the same cultural anxieties explored by Southern Gothic literature while reaching audiences through popular music.

Importantly, Cain’s career resists conventional measures of artistic success such as commercial singles or radio accessibility. Cain privileges narrative coherence and emotional intensity over immediacy, often producing songs that are intentionally slow, repetitive, or uncomfortable. This artistic risk reinforces the Gothic ethos of confronting discomfort rather than resolving it. This resistance could be interpreted as central to Cain’s cathartic poetics, where endurance (both for the characters and the listener) becomes part of the aesthetic experience. 

Preacher’s Daughter as a piece of Gothic Fiction

“Preacher’s Daughter” (2022) is explicitly framed as a narrative concept album centered on fictional characters confronting religious trauma and family collapse. The album is set in 1990s Alabama and follows a girl named Ethel Cain, who endures childhood abuse, runs away from home, and subsequently becomes involved with two men who alter the course of her life each in their own way. Her story unfolds over the course of the album, and closer to the end she is murdered by a man named Isaiah, who deposits her body in a freezer and cannibalizes her. In the final two songs of the album, “Sun Bleached Flies” and “Strangers”, Ethel speaks to the listener from the afterlife, lamenting her brutal demise and accepting death as her body is being devoured. The album’s depiction of a girl navigating a brutal and conservative religious landscape reflects classic Gothic sensibilities, where faith becomes a source of terror rather than solace (National Catholic Reporter, 2023, para. 1). The protagonist endures systemic cultural pressures tied to religion and family expectations, a hallmark of Southern Gothic fiction, where such personal traumas reflect larger regional anxieties. The album unfolds almost like a horror story set to music: religious sermons, familial abuse, and eventual violence mark its arc, aligning it with Gothic tradition while remaining rooted in American Southern culture.

Religion functions as one of the album’s primary themes and as a central site of horror. Ethel is raised in a community deeply embedded in Southern Baptist tradition, growing up as the daughter of a preacher and attending church regularly. Although she is initially portrayed as an active participant in her congregation, her relationship with faith gradually deteriorates as she begins to question God and the institution she has been taught to revere since childhood. This spiritual crisis is articulated in the third track, “American Teenager,” where Ethel expresses her conflicted relationship with Christianity: “And Jesus, if You're there / Why do I feel alone in this room with You?” (Cain, 2022). It illustrates religious institution in Preacher’s Daughter as a place of loneliness instead of community (which it’s often preached to be), with the character revealing her disconnection from faith even though her life is tied to it so tightly (National Catholic Reporter, 2023, para. 2–4). The protagonist’s history with Southern Baptist Christianity vividly positions the church as a perpetrator of personal horror, “betraying” Ethel, leaving her in a state of transformative loss where her identity as a preacher’s daughter doesn’t really mean anything anymore. The culture of religion and its intersection with familial relationships in the album mirrors classic Southern Gothic preoccupations with spiritual malaise and societal constraint (National Catholic Reporter, 2023, para. 2–4). The album’s narrative arc engages with religious symbols as signs of spiritual and moral decay instead of signs of salvation.

Other notable songs from the album that explore such gothic aspect as family as a site of horror are “Family Tree (Intro)” and “Family Tree”. With the Intro, Cain draws a bridge between the religious and familial horror, saying “Jesus can always reject his father / But he cannot escape his mother's blood / He'll scream and try to wash it off of his fingers / But he'll never escape what he's made up of” (Cain, 2022). Ethel evokes the imagery of the traditional notion of a family tree, which references the lineage she comes from, a very religious one, as well as a literal tree from which she hangs by a noose: “The fates already fucked me sideways; Swinging by my neck from the family tree” (Cain, 2022). The metaphor illustrates her inability to escape her family’s legacy and the fact that she feels resigned to the unavoidable fate of ending up like those who came before her (which Ethel Cain the artist teased will be revealed in the upcoming album “Preacher’s wife”). Her path has been decided for her, and she has no agency in deciding the course of her life. Additionally, employing violent imagery of a suicide by hanging herself helps to cement the Gothic atmosphere “Family Tree (Intro)” aims to build straight from the beginning of the album with the gloomy and eerie sound. If we consider the act of being hanged in a more physical sense, having a suffocating noose tied around the neck, the poignancy of Ethel’s sentiments about feeling stifled by her family becomes even more apparent. 

Album visuals in the context of Southern Gothic

The visual aesthetic created by Cain for “Preacher’s daughter” is centered around the eeriness of the American South, made to be uncomfortable to look at and to spark the feeling of “liminal space”. The setting of the photos is a country house or a courtyard, implying the old family house aesthetic. The singer herself is the main character of the shoot, often depicting herself in an overly modest, nun-like attire, or vice versa, in an overly sexual way that contrasts with the surroundings.

The duality of the character, the preacher’s daughter, is meant to be unsettling, questioning the point of view of other people who live in the house and how they see her. If the only environment we see, the only environment she knows, is her family house, to whom exactly is she an object of sexual desire? Who is the person behind the camera, in this creepy house, in that field? The loneliness that is channeled through the album’s visuals is not only highlighted by the surroundings that imply American suburbs and Gothic South, but also by the composition of the shots and photo filters that create the old, scary photo effect. Some of the shots also imply the “death” and decay of the surroundings, rarely showing other residents of the place being photographed and focusing mostly on the house and Ethel with Jesus behind her. And, most importantly, the shots don’t recreate the events of the story told in the album, and we don’t even know for sure if the person in the shots is Ethel as a character, or just the singer creating the atmosphere for the album. They exist as documentation of that eerie place that birthed Ethel and many more before her, because, surely, Ethel Cain’s fate is scary, but isn’t the place that she escaped, that created the preacher’s daughter and preacher’s wife much scarier than any traditional gothic castle?

Conclusion

By synthesizing narrative, sound, visuals and mythic world-building, Ethel Cain’s Preacher’s Daughter operates as contemporary Southern Gothic fiction. The album channels decay, familial dysfunction, religious trauma, and doomed love through immersive sonic landscapes and layered storytelling. Cain’s work expands the genre beyond literature into transmedia artistic expression, making Southern Gothic a living, evolving form.

Cited sources
1.    Cain, Ethel. Preacher’s Daughter, Daughters of Cain, 2022.
2.    McQuade, Ryan. Ethel Cain and the haunting of religious trauma. National Catholic Reporter URL: https://www.ncronline.org/culture/ethel-cain-and-haunting-religious-trauma (accessed Jan 1st, 2026).
3.    Karjalainen, R. Am I Making You Feel Sick?: Ethel Cain’s Preacher’s Daughter and the Southern Gothic. Tampere University Press, 2025.
4.    Redding, Arthur. Ethno-Gothic: Repurposing Genre in Contemporary American Literature. American Gothic Culture : An Edinburgh Companion, edited by Faflak, Joel, and Jason W. (Jason William) Haslam, Edinburgh University Press, 2016, pp. 73–91.
5.    Walsh, Christopher J. ‘Dark Legacy’: Gothic Ruptures in Southern Literature. Critical Insights: Southern Gothic Literature, Salem Press, 2013. pp. 19–34.

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Быть настоящим, роскошь современности. И это касается не только творчества... В угоду фальши и мнимых побед мы придумываем себе идеалы которых нет. Мы гонимся за модой которая демонстративно показывает превосходство над другими, хотя сами порой не имеем превосходства над собственной тенью. Во времена декадентства это в порядке вещей. Но главное самому не стать вещью растеряв то, что дано нам действительно свыше. Мы пытаемся казаться прежде всего себе. Просто так легче живëтся. Но в глубине души мы всегда знаем чего стоим на самом деле, что действительно ложно, а что нет. Истина эфемерна, она уже давно растворилась в повседневной действительности. Она почти утонула в ней. Но все улыбаются, у всех всë "хорошо".

Но пора уже освежить свои мысли, посмотреть в зеркало своего «я», сказать: «Да, это я, я такой, какой есть». Принять себя со всеми огрехами и изъянами, ленью, унынием и чем-нибудь ещë. Это и есть настоящее истина! Быть честным с самим собой. Это начало нал. А потом можно и побороться за то что бы стать лучше.

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Бесценное искусство: между идеей, рынком и интерпретацией.

Мы привыкли измерять почти всё - деньгами или временем. Как будто эти категории универсальны и способны оценить любую ценность. Фильм Эндрю Никкола «Время» наглядно показывает эту логику: жизнь сама становится валютой. Но в искусстве всё иначе. Творчество плохо поддаётся меркам и ценникам, ведь его смысл и влияние могут растянуться на века.
Современное искусство не может стоить «ничего» - даже если оно минималистично или нематериально. Оно прежде всего рассказывает историю, выражает идею или интерпретирует опыт. А опыт и идеи, как известно, бесценны. Слово «бесценный» отлично это иллюстрирует: с одной стороны, оно значит «не имеющий цены», с другой - подчёркивает исключительную значимость. Искусство может не иметь рыночной стоимости, но его культурная ценность остаётся высокой.
Если для древних греков вершину художественной иерархии занимали театр и скульптура - осязаемые и монументальные формы, - то сегодня мы ценим смысл и значение. Минимализм стал отражением этой логики: он лаконичен, но насыщен идеями, и поэтому органично вписался в повседневную визуальную среду.
Аристотель считал искусство подражанием, но ценил больше всего то, что выходит за рамки копирования и приближается к идеям - к эйдосам. В этом современное искусство наследует античную традицию: даже сегодня ключевую ценность составляют история, нарратив и контекст, в который объект погружает зрителя.

I Цена как нарратив, а не как сумма

Современное искусство ценится не за материалы и не за техническое мастерство, а за историю, ритуал или жест, который оно создаёт. Цена становится производной от опыта, который произведение предлагает зрителю.
Проще говоря, стоимость здесь - это не сумма затрат, а признание значимости. Умение «продать» идею, встроить её в культурный контекст, - это тоже искусство. Цена фиксирует не объект, а его смысл.

II Подпись и авторство важнее объекта

Теодор Адорно и Макс Хоркхаймер из Франкфуртской школы называли культуру «производственным цехом», где искусство превращается в продукт. В капиталистическом мире бренд часто важнее материала, и этот принцип работает и для искусства.
Редимейды Марселя Дюшана - классический пример. Его «Фонтан» - обычный писсуар с подписью - показал, что решающим становится не объект, а жест художника. Дюшан сам не считал это искусством, но именно этот акт разрушил классическую форму и подчинялся логике символического и рыночного производства.

III Ограниченность как искусственно созданный дефицит

Ценность искусства во многом зависит от его уникальности. Подобно человеческому опыту, мы особенно ценим то, что можем потерять. Когда объект становится легко воспроизводимым, его ценность падает.
Яркий пример - бум NFT-искусства. Первичный, подписанный цифровой объект ценился выше всех копий и производных. Но по мере перенасыщения рынка и потери ощущения уникальности NFT-видеоарт терял символическую и экономическую значимость.
Причина не только в спекуляции. Искусственно созданный дефицит оказался хрупким. Когда исчезло чувство исключительности, пропала и цена.

IV А судьи кто?

Всё же кто-то должен назначать цену - в привычном нам денежном смысле. Это возникает вместе с институтами меценатства и коллекционирования. Искусство вступает в ресурсные отношения, где формируется его рыночная стоимость.
Важно не просто наличие цены, а вопрос - кто и на каких основаниях её устанавливает. В идеале это делают не те, кто ставит деньги выше идеи, а те, кто мыслит категориями смысла и культурной значимости. Кураторы, критики и коллекционеры становятся судьями: от их решений зависит не только стоимость произведения, но и траектория искусства в целом.
На них лежит ответственность не просто легитимировать цену, но и объяснять замысел, который эту цену создаёт. Для широкой аудитории они становятся посредниками между идеей и её экономическим выражением. Ценообразование в искусстве - это не бухгалтерский расчёт, а акт интерпретации, где деньги лишь фиксируют уже признанную культурную ценность.

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Percorsi, città e protagonisti dal 2000 a oggi
a cura di Franca Dariol
Dal 2000 a oggi, l’arte contemporanea italiana ha vissuto una fase di grande fermento e
trasformazione. In un contesto sempre più globalizzato e digitale, caratterizzato da una
pluralità di linguaggi, sperimentazioni e riconoscimenti internazionali. Le città, i festival,
le istituzioni e soprattutto gli artisti hanno avuto un ruolo fondamentale nel contribuire a
consolidare la scena artistica nazionale.
Tendenze e linguaggi emergenti
Negli ultimi vent’anni, l’arte italiana ha saputo esprimersi attraverso molteplici linguaggi.
Alcune tendenze rilevanti sono:
• Arte digitale e media interattivi: l’integrazione di tecnologie ha dato vita a installazioni
immersive e opere partecipative, aprendo nuovi scenari nella relazione tra artista e
pubblico.
• Arte ambientale e sostenibilità: sempre più artisti si confrontano con la crisi ecologica,
esplorando il rapporto tra uomo e natura.
• Arte performativa e interdisciplinare: il confine tra arti visive, teatro, musica e danza si
è fatto sempre più labile, favorendo performance dal forte impatto emotivo.
Alcuni protagonisti
Tra gli artisti che hanno lasciato un segno nella scena contemporanea italiana:
• Marina Apollonio, con le sue opere optical e cinetiche, ha esplorato la percezione
visiva e la geometria, esponendo in sedi come la Peggy Guggenheim Collection.
• Paolo Canevari, autore di installazioni e video dallo spessore concettuale, affronta
temi come la memoria e l’identità.
• Marco Lodola, con le sue iconiche sculture luminose, ha unito arte pop, design e
cultura urbana in un linguaggio accessibile e immediato.

Le città protagoniste
Molte città italiane si sono affermate come poli attivi di produzione e promozione dell’arte
contemporanea:
• Torino, con il Parco Arte Vivente, è un laboratorio a cielo aperto di arte ambientale e
partecipativa.

• Roma, grazie al MAXXI – Museo nazionale delle arti del XXI secolo – è un punto di
riferimento per la giovane arte italiana.
• Milano, con le sue gallerie e fondazioni, è crocevia tra arte, design e innovazione.
• Forlì, con il festival Ipercorpo, promuove la sperimentazione performativa.

Focus: Treviso e Venezia
Vivendo fra le due province, ho osservato da vicino lo sviluppo dell’arte in queste città.
A Treviso:
• Ca’ dei Carraresi ha ospitato nel 2012 una rassegna internazionale di arte
contemporanea.
• Ca’ da Noal e Ca’ da Robegan hanno accolto mostre di artisti importanti come Sonia
Ros, Claudio Massini (era un mio docente), Omar Galliani.
• Museo Bailo, nel 2025, ha presentato “Differenti con metodo”, mettendo in dialogo arte
e design.
A Venezia:
• Biennale di Venezia: con la sua Biennale alla 60ª edizione del 2024, resta un faro per
l’arte mondiale.
• Arte Laguna Prize: Questo prestigioso concorso ha visto la presentazione dei finalisti
nel 2024 a Venezia, offrendo una piattaforma per artisti emergenti.
• Fondazione Musei Civici di Venezia (MUVE): Nel 2024, ha organizzato mostre
significative come "Lo Stile di Chiara Dynys" e "Anime di Venezia" di Lorenzo Quinn.

Tendenze
Le principali tendenze emerse includono:
Arte digitale e interattiva - Arte sociale e politica - Sostenibilità e ambiente

Un esempio virtuoso nel veneziano: Forte Marghera
A Mestre, Forte Marghera è un esempio riuscito di connessione tra patrimonio storico e
arte contemporanea. Qui si tengono residenze artistiche, mostre e progetti speciali come
quelli legati alla Biennale Arte o curati dalla Fondazione MUVE.

La mia visione personale

Sono Franca Dariol, pittrice e grafica, da anni osservo con curiosità la scena artistica
nel mio spazio locale, anche nelle sue contraddizioni. Da una parte nei social vedo una
tendenza all’iperrealismo, disciplina tanto osannata quanto criticata, non trovando in
essa un filone di evoluzione dell’arte, quanto piuttosto un’esaltazione del tecnicismo
pittorico. Da altra parte invece, c’è una forte spinta verso la ricerca e l’originalità, talvolta
ispirata anche da contesti internazionali. Personalmente, fra gli artisti che amo c’è Chun
Kwang Young, che offre visioni inusuali e complesse.
Nel mio atelier creo arte astratta, psichica e figurativa. Alcuni collezionisti mi apprezzano
per l’originalità, in un contesto dove spesso si tende a replicare stili già noti. Ho ideato
un mio linguaggio, in particolare con il ritratto astratto-psichico, con il quale miro a
cogliere l’essenza interiore della persona.
Donne, arte e resilienza
Nel mio entourage, in particolare tra le donne, sono molte le persone che si dedicano
alla pittura senza aver ricevuto una formazione accademica. Apprezzo molto la
perseveranza di queste persone di talento: riescono a dipingere dando prova di grandi
capacità.
Durante la pandemia, ho notato una vera esplosione di studio e ricerca pittorica.
L’obbligo di restare fra le mura di casa ha aperto spazi di tempo che si sono tradotti in
nuovi linguaggi e sperimentazioni artistiche.

Una visione personale e condivisa
Artiste in dialogo
Recentemente ho partecipato alla collettiva “Suprema armonia delle differenze”, tenutasi
a Mestre, vicino Venezia.
Io, Franca Dariol con opere materiche astratte:
“Le mie tele danno voce ad emozioni e stati d’animo che spesso non sapremmo come
esprimere. Sono emozionali, energiche e brillanti, portando luce e bellezza attraverso
l’uso del colore.” (www.francadariolart.it)
Con me c’erano:
Beti Cotic, con i suoi dipinti astratti:
“Con le mie opere esprimo il contrasto tra l'oscurità e la luce. Intrecci di luce. Una lotta
tra il bene e il male. Il mio ultimo quadro affronta il tema dell’inquinamento da
microplastiche.” (https://www.instagram.com/beticotic/)
Gaia Lionello, con le sue immagini di alberi su legno:

“Su ampie tavole in legno spiccano, solitari, alberi neri dai profili indefiniti. Rievocano un
ambiente alpino scomparso, una memoria di paesaggio strappata al tempo e all’uomo.”
(https://www.instagram.com/gaialionello/)

Conclusione
L’arte contemporanea italiana dal 2000 a oggi ha saputo rinnovarsi, dialogare con il
mondo e riflettere sulle sfide del presente. È un’arte viva, complessa e coraggiosa, che
continua a evolversi grazie al contributo di artisti, istituzioni e comunità locali. E
soprattutto, grazie a chi, ogni giorno, crea con passione.

Meolo VE Italia

Soon...

Воспринимать реальность через искусство? Жить искусством?

Не обязательно заниматься творчеством, чтобы выбирать эти пути. Обязательно желать сделать свой мир и мир окружающих светлее, чище, интереснее.

Я думаю, красота спасет мир. Красота искусства, в широком его смысле. Смотреть на привычные вещи, вдохновляться и превращать их в то, что может откликнуться знакомым теплом в других сердцах — бесценное умение, почти дар. И даже в своих падениях и неудачах видеть источник творчества…

Созерцать и созидать.
Не отмахиваться от реальности, закрывая глаза на неприятные вещи, а трансформировать их во что-то светлое и нужное другим. Больше таких проницательных глаз = больше красоты. И счастливых лиц!

Расцветать, глядя на тривиальные вещи, дабы не поникнуть под гнетом неприглядной действительности, трансформировать их в прекрасное — это большая работа. Но доступна каждому, кто желает и старается.

Выбирайте непривычные пути, протаптывайте дорогу первыми. Наблюдайте под разными углами, экспериментируйте, осмельтесь взглянуть в бездну, темноту. И созидайте!
Вам откроются новые горизонты, а действительность чудесным образом изменится.

Soon...

Работа с углëм требует внимания и уверенной, твëрдой руки. Плавность линий прекрасна, но вместе с тем сложна и по-своему опасна. Что завораживает, диктуя свои правила игры. Делать работы на одном дыхании, уловив неуловимое, отбросив ненужное расставив акценты на том, что действительно важно. Уголь не прощает ошибок, неверный штрих и произведение уже не спасти. Выход один начать всë сначала, а потом опять и опять. Пока не почувствуешь уверенности, лëгкости. Он может быть воздушным, буквально невесомым, передавая мягкость очертаний юного лица или же красивой фигуры, а может быть грубым и даже мрачными играя контрастами форм света и тени. А может и вовсе не открыться художнику превратив творческий процесс в грязь и ворох бумажных листов смятых в порыве разочарований. Всë дело в пальцах держащих этот мягкий, бархатный материал, имеющий что-то первобытное, неподвластное времени, что-то из глубины веков...