LISA IZVOZCHIKOVA

Artist Statement

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My practice is an observation of the harmony within the tonal and color relationships. I draw inspiration exclusively from immersion into my everyday surroundings, responding to the light and shadow combinations that feel subjectively compelling—perceiving them first as abstract color spots, then as geometrical shapes, and never at all as objects. Working at the intersection of interpretation and representation, I am interested not in a literal depiction of a motif, but in capturing the unique moment that forms its fleeting essence. This approach grants me a great deal of freedom—one governed not by rigid rules, dogmas, or generalizations, but rather by a singular visual experience.

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Photography plays a dual role in my creative process: both as an independent form of expression and as a foundation for painting. From early childhood, I rarely left the house without my camera, later, during my youth years, treating photography as a more accessible alternative to painting, and more precisely—as a tonal exercise. Over time, it became an essential tool, helping me refine composition, rhythm, and tonal balance. In the darkroom, I experiment with overlays and light, treating photography as an extension of my artistic exploration.

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Today, my paintings often begin with photographic notes—spontaneous observations that later develop into complex, multi-figure compositions. In working on these, I frequently create tonal maps in charcoal and graphite to preserve my initial idea throughout the multi-layered improvisational process.

 

At the core of my theoretical research is the evolution of figurative art and its role in the contemporary context. A key area of my inquiry is how the wars of the twentieth century continue to influence today’s art world. In short, I explore how these historical events contributed to the marginalization of representational practices, the devaluation of technical skills and theoretical knowledge in this field, detachment from intellectual discourse, and overall decline as a result.

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This exploration also extends to scenographic projects, where I reconstruct the aesthetics of the 1970s in the form of an immersive experience. In my cultural and hospitality ventures as an entrepreneur, I incorporate the same visual codes—through spatial design, color schemes, and material choices.

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Whether working in painting, photography, video, or scenography, I continually ask myself the same fundamental questions: How do we perceive reality, and what defines the moment of recognition? How does nostalgia shape our perception? How much context is needed to evoke an emotional response? Where is the boundary between narrative and artistic harmony? These inquiries lead me to explore the timeless elements of the painterly language, from the Fayum portraits to the present day.

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Bio

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My interest in art history and regional schools began at an early age. My first international experience was in Munich, where my father was working on a plasma fusion project. Thanks to my mother’s dedication to providing the best education for me and my sister, even in a foreign country, I was introduced to the world of art at the age of eight through the collections at the Alte and Neue Pinakothek. Later, when we returned to St. Petersburg, I continued my study of medieval and Renaissance art at the State Hermitage Museum. ​Under the guidance of Dr. Ludmila Ivolgina, a renowned educator specializing in the Middle Ages and Renaissance, who led the Hermitage school for high school students for over 30 years, I developed a deep passion for art. Alongside this, I received a classical education at a gymnasium with a strong emphasis on ancient languages and the humanities.

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After completing this program, I pursued painting and drawing, taking several preparatory courses during my high school years, ultimately opting for graphic design and earning my bachelor's degree at Saint Petersburg State University of Design and Technology.

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Following my intention to further explore my artistic ambitions and ideas in my late twenties, I transitioned from graphic design to interior design and photography. This shift allowed me to immerse myself in spatial aesthetics, where light and texture became the primary vehicles for my creative expression.

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Over the years, I ventured into entrepreneurship, opening and managing music bars, followed by a restaurant dedicated to promoting the secular culture of the Middle East. These ventures served as dynamic canvases for my artistic vision during a time when I lacked the means to fully commit to painting.

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After several years of hard work and saving, I was able to move to Jerusalem, where I continued to refine my skills in painting and drawing at the Jerusalem Studio School, founded by Israel Hershberg, and later at the Hatahana School in Tel Aviv, studying under Adam Cohn.

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Four years later, I embarked on my first professional project in the South of France, The Shared Table. This project embodies the essence of communication through shared meals, a concept deeply tied to my personal history. As a child, the absence of a conventional family home following the premature loss of my parents shaped my understanding of connection and togetherness.

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The latest major step in my artistic career has been my acceptance into the DNSEP program at ESA Dunkerque-Tourcoing, where I am currently working on my thesis exploring the influence of the late 1960s and 1970s on the contemporary art scene. This research is deeply personal to me—not only as an academic endeavor but as a way to stay connected to my parents’ generation and their aesthetics, integrating those influences into my own artistic practice.