G’day viewers, my name is Graeme
Stevenson and I’d like to invite you to come on a journey of creativity
and learning and adventure through the series Colour In Your Life.
There’s an Artist in every family throughout the world and
lots of times there’s an Artist deep down inside all of us as well.
So grab your kids, your brothers, your sisters, your aunties, uncles and
mums and dads, and come and see how some of the best Artists in Australia do what they do. We’re in the beautiful city of Sydney this show
to see an amazing artist so come along and enjoy the incredible talent that Sydney has to offer. Hello Yelena.
Hello Graeme. How are you?
Good. How are you? Good to see you darling.
Nice to see you. Weíre going to spend the day with
you creating one of your master pieces. Oh sure. We are welcome. Sounds good to me. Letís go and do it. Well gíday viewers and welcome back to Colour In Your Life.
Once again weíre going to go through and have an amazing day with a very, very talented lady, Yelena Dyumin.
Thank you very much for having us in your studio, Yelena. Yes. Itís a pleasure to be here.
Yelena is of Russian decent. Thatís right. She has a wonderfully extended history as far as her
artís career is concerned from the University of Omsk, or the Art Institute thereÖ Yes. Fine Art University. And you were also in Moscow as well? Yes. And youíre also a lecturer
for fourteen years on Art? Fourteen years, yes. Thatís amazing. I mean so youíve really got an
extensive background in art for a long, long time Yes, yes. Just incredible. Very, very successful artist. Yelena is in a number
of other places throughout the world. She actually just completed an exhibition in Taipei in Taiwan. People love her work that much
that they come after her and they buy her work simply because of the fact that sheís so good at what she does. Weíre going
to go through the process today of creating one of Yelenaís wonderful pieces. I think that there is a lot of influence
from the Eastern and Western flavour of your work and a lot figurative and humanitarian type
of aspects about what you do. Yes. Of course its influence of all my previous life in Russia.
Some picture I can show you is influence of Russian folk. For example this Russian Matuska.
You say Babushka but in Russian itís Matuska. Oh ok. Matuska, yes. A really diverse artist as well. Youíre very multi talented in a number
of different disciplines. Weíre going to show those pictures as we go through the show today as well and then talk more about
Yelenaís influence, her emotions towards what she does. But today weíre going to start on one of these
pieces and itís really, really beautiful stuff. So come along for the ride with us and weíll let you
set up and weíll get stuck into this painting then. Ok. Sounds great! Sounds great! Come along. Alright, well this is going to be a pretty fascinating journey today.
A very, very, very interesting lady. Now before we start, always, now what type of canvas? Do you actually just
buy your type of canvas from the store? Ah yes, I just buy a canvas, stretch canvas. Ok. And I like the texture. In a lot of times people will put down various backgrounds.
Now weíre going to screen in some of the other backgrounds and pictures that Yelena does where you can see that she actually uses some
of the techniques funny enough, that I have used too. I wasnít aware until we actually met that you actually did that, of course.
But theyíre just great techniques that you can actually get this winding emotion with the paint. I think itís really,
really cool. From this one here youíre going to create more so one of your iconic pictures
with a very figurative sense about it. Figurative. Yes. Yes. Where do we go from here then?
What are you going to do? I imagine the composition already. I know what Iím doing.
What Iím painting. What will be in the last stage. So it will be figurative, as you say.
Ok. So I begin to mix the paints and then I already imagine that my
figure will be located almost in the middle of the canvas. I put the basic colour for face. A little bit goes left side.
Itís very, very basic colour. I use a big enough brush. And a lot of your work Yelena, is the special part about what
Yelena does, comes from the head and the heart. A lot of artists choose reference work but
you simple paint from your imagination, donít you? Itís my imagination. My inspiration comes from all my life and
born into my head and in my heart. I find the place for the first face. Sure. So I have two faces. Youíre going to do two faces, right? Two figures. The second one,
itís not a human figure. Itís a little bit strange. A little bit strange.
This is the imagination coming in. Itís the imagination, yeah. Exactly right. Ok. Usually I donít do the sketch with a pencil. Sure. You just do it straight with a brush. Yes, because I know
everything of what I want to do. Alright, so youíve put your base colours down now for your
characters, now, you said you want to put the hair in. Is that correct? Yes, as you can see in my previous pictures, the proportions
of the figures is distracting. Itís not the real proportions. For example their neck is too thin and too long and maybe
movement of the neck is not real but itís the character of my heroes. Sure. Sure. So I begin to do the same, the basic colour for hair. Oh so youíre just really putting
down a lot of base colours. Base colours because details will be next stage.
I like details and I show you how I create the details. Now Iím doing the depth of the shade of colour.
The depth of the hairs and the right side as well. Yes. We imagine that light goes from left and from the top And thatís always very
important the source of your light. Yes. Also Yelena has her own published book by the way guys.
The Art of Yelena Dyumin, which is just beautiful but just using one of these examples here, you can
actually see that youíve got applesÖ Youíre right. Öin a number of your pictures and
also bird cages in a lot of what you do. So can you tell me what the apples
and the bird cages actually mean? Yeah, sure. The apples, especially the green apple, itís my
favourite symbol. My first and favourite symbol because as you can see I use it very often. It means for me, the green
apple, itís the fresh. Itís the beginning of the life. Itís Adam and Eve. Itís beginning
of everything. Itís the apple. And what about the cages? What do they
represent? Youíve got the apple in the cage. Youíve got the bird in the cage.
What does the cage represent as well? Ok, itís the freedom. Freedom for us, for people, for everyone.
But the cages, it means some restriction of our freedom. For example if you can see here the cages, and the butterflies.
In another picture you can see the birds. Like we canít do everything that we want to do, for example. The bird, and for example
the butterflies, it symbolises the freedom, for me. Freedom I can sayÖ It symbolises in a sense, funny enough,
of how important symbology is. Alright, well letís get back to what weíre doing and then weíll
see how we can create this particular symbol as we go through. figures present one of the human, the woman, and another is
the person from landscape, from nature. So it is the body of the big fish with a human face that can say something. It can talk.
I am doing the transition from light colour to the shade. Youíre doing a magnificent job, by the way. Thank you Graeme People begin to look at my picture from the distance and then
they find small details so they approach the picture and they lookÖ They see everything Yes at small, small details. Now I am using water because I
begin to develop the character of my figure. For example this face Do you ever use your finger at all? Sometimes yes, yes. I use the finger
as well. Now to shade the place for an eye. Beautiful. Another one. Ah lovely. Another one. So this part of the face,
this will be in darker shade So you just keep
using that waterÖ Yes, every timeÖ Itís just balancing the water
with the pigment, isnít it? Yes. Yeah. So I do a little bit
darker edges of nose and eyebrow. So I know that youíve actually
been in a number of exhibitions as well. Yes. Your work is collected by
people all over the world. It was a few exhibitions this year. Well obviously the one you did in
Taiwan, which was great, wasnít it? Oh it was great. I was so happy that the big Taiwan
show bought twelve pictures, twelve pieces of my collection. When you can sell work to an exhibition without
having to actually turn up to it, thatís pretty great. Oh itís so great. You can just see that face starting
to come in there. Itís just beautiful. Itís like only shades. Maybe I can do
it a little bit deeper. The deeper shade. Which artists do you feel have
influenced you in your work? I love Clint so much. Itís my favourite. Gustav Gustav Clint. Yes. I like Modigliani. I like a lot but Clint is my favourite.
One of my favourites. I think he liked details as well. Like me. But he would block large pieces of colour
in too and then obviously put the details in as well. The details, yes. Which is important. Itís so interesting to
see these pictures closer. Yes! Now I can show you the just a
little bit to create the eye. The sight of that. The window to the soul! Yes. So I find the place for the lady for the eye. So I find
the places. We can leave it like this, it will be a Japanese lady! [laughing] There you go. It doesnít matter how many shows Iíve done I always find unbelievable
fascination at watching people work like this. Itís incredible. Ok. The pupil. And thatís now right now what I am is a pupil. So now we have to do the white. And the white goes on perfectly ok across the top of that?
And this is just straight pigment? Itís a lot thicker? Yes, itís thicker now Well what we might do is, because this is probably going to take
Yelena quite awhile to paint is that weíll duck away and let her work on this for a little while and weíll come
back when sheís a little more ahead of where she is now and continue to go
through this journey with her. Ok. Thatís amazing. Youíve made some great progress
there. So in saying all of that what do we do now? OK. Now when we almost do the character
of faces. Now I need to do the womanís dress. OK. So It will be a little bit
of different technique. OK. What sortÖ I would like, what sort?
I would like to show you now. OK. What are we going to do? Sounds exciting. We have to put,
I put this canvas flat. Oh OK. Horizontal. I begin to paint the dress. I use
these bottles. For example, I begin to use this. I squeeze, you see? Itís my favourite,
one of my favourite technique. So how many colours would you put
down with something like that? Ah four, three, four, five. OK. Itís very Jackson Pollock! Itís fables, I like it so much. You can take
another colour. You can squeeze more. You can do the big strokes. You can be thin,
very very thin. You can do even the dots. Just with the end of the bottle? Yeah. Now we can do another one. Got some white? The fifth colour. You can put as many colours on
as you want as far as Iím concerned. Yeah, of course! Of course! Youíre the creator. Yes. Even now we can see the dress.
We can see the skirt. More colour. All right Yelena, this is obviously wet so weíve actually
got to keep this pretty flat for awhile, havenít we? Yes. What we might do just so that the audience can have a look at
whatís going on is weíll turn it around so they can at least see where weíre going with it and then youíre going
to use those little squeeze bottles againÖÖ. Yes. ÖÖ.. which is very cool to start
creating all the little details in the area More details. Yes. For example
now I am doing the scalesÖ. Ah look at that. I would like to paint the tail, i use the small bottles as well,
small bottles, so it is very free. It certainly is! Itís free movement. How you want.
I just love that. And I use a few colours as well. Now I would like to do the collar You can see how this is just magically coming together. With all
of those base colours down there. You can see the line. Once you get there itís just so sharp and beautiful.
Itís great. Iím sure that there are a lot of people out there that have never seen this done before You canít do this line with a thin brush.
You can do the thin line but itís not with the texture. You wonít get that texture. Yeah. It gives us a texture. Ok. Nearly done. There we have more scales. I suppose at the moment
youíre just really building the character of the painting. Small part. What I like to do. I like to do the details.
Now I keep going and finish the hair. Very free movement of hair. Thatís something that I havenít experienced in many,
many years [laughs]. Free movement of hair. Little bit curved. What weíre going to do, because of the nature of acrylics they
donít take too long to dry unlike oils, weíre going to let Yelena continue to work on this and weíre going to duck away.
Sheís going to have to actually wait until this dries, so sheís going to continue to do some work.
If she puts it up it will run at the moment and then weíll come back and go through some more
techniques with her. Weíll see you shortly. You also teach as well. Yes. You teach, obviously to your
own students but you teach in the area? I teach here in two suburbs close
to my place, Bondi Junction and Artarmon. OK. So if anybody really wants to know about being taught
by an incredibly talented woman, particularly in the Sydney metropolitan area, they can get in touch with Yelena at her web site.
If you want any information you can come in and see us as well at obviously, colourinyourlife.com.au but weíll let you finish those bubbles offÖ Yes, I finish off the bubbles. Now I have dry brush,
without any water. Tur-keez in Russian. Turquoise colour. What is it in Russian? Tur-keez. Tur-keez. [laughing] Tur-keez. Very simple, turquoise colour. So are they bubbles or clouds to you?
What would you call them? For me, it was clouds. But for somebodyÖ It could be bubbles. It could be bubbles, because it
could be under the sea, under the water. Iím sort of thinking if you were fishÖ Have a good imagination. We got a fish and we got a woman. But itís great. And once
again looking at it, itís just wonderful symbolism, you know? Itís not often that you see pictures
represented like this. It looks great, it really does. OkÖ weíre nearly finished.
So bubbles, cloudsÖ itís ready. Voila. I think so. And maybe I can
put some details on her sleeve. Sure. Like that. Yes, we can get it fresh.
Put a Russian sleeve there. Yes [laughing] Russian backgroundÖ
an influence on me of course. Yes. Of course. Well Yelena, fabulous, fabulous day. Thank you. An amazingly talented lady
. Thank you so much for having us Thank you for coming,
thank you so much Incredible. I mean, a Russian artist living in AustraliaÖ Wonderful,
wonderful work. Very expressive, so much emotion and symbolism. And you go through the process as we always do. Now remember,
Yelena teaches as well, particularly in the Sydney CBD area, so if you want to get in touch with her, absolutely go to her website,
and you can obviously see her work in our website as well at colourinyourlife.com.au. The importance of, particularly a teacher
like yourself, and some of the amazing artists we have, is that the workshops, we will be doing workshops on an ongoing basis. If you
want to know the knowledge, itís all well and good looking at the video or looking at the TV Series, but I think a great way to interact
with the knowledge of these people is to sit down with them, and be able to, literallyÖ I mean, decades and decades and decades
of experience that weíve had, and we can impart that on to you guys as well. But stay in touch with us as well. Get in touch with us,
and we can show you a whole bunch of things that youíve probably never seen before. And our sponsors as always, our supporters; we obviously always
want to thank them. Growing all the time by a lot of people that are interested in what weíre doing. But weíll leave
it at that. Thank you so much darling. Thank you, thank you so much Graeme. It was a pleasure, absolutely. And youíll definitely be seeing
more Yelena and ourselves as we go along, but, as I always say, remember, make sure you put some
colour in your life. Weíll see you next time. Bye bye! Bye guys, bye