Interview with painter Serguei Zlenko

Whether exercising his extraordinary prowess for unusually stirring portraiture, defining the uniquely elegant flavours of ballet, providing the viewer a sense of presence in his chosen landscape or capturing fanciful whims of human imagination with charm and warmth, Serguei Zlenko characteristically delivers scenes of striking depth and passion. The delicate grace of his tunings of detail, the bold fervour of movement apparent in the strokes with which he enunciates the spirit of an implied motional nature in figures at rest and a fierce regard for the attributes and demands of light define the signature traits of style in Zlenko’s paintings.

Serguei Zlenko

What is your background and education?

At the age of 12 I was admitted to the Academy of Fine Arts' school for young children. Upon its completion, I went on studying portrait and monumental painting at the Surikov Art Academy, Moscow.

Why are you so passionate about art? When did you first realise Art is your favorite subject?

I believe that making art allows not only expressing oneself in a unique way while enjoying the process, but also sharing the joy with the public. There are ups and downs, times of doubt, of course, just like in any other line of work.

Port of Nice, 65x81cm, oil on canvas, 2020

What is your working method? Please share with us your vision and inspiration

Before beginning actual work on a canvas, I always think thoroughly about the key idea of the future painting, and try to get a clear idea of the stages towards its realization. I also take time to gather enough material - sketches, studies and photographs. I try to create a detailed visualisation of the future painting, which thereafter guides me through the entire process towards a desired result.

I draw inspiration from various sources, often outside my studio. An idea of a painting may come in any place and at any time. Whenever it happens, I keep that visual imprint in my memory as well as make sketches or a quick study of the subject matter.

Do you teach other artists or artist-want-to-be? Where and how do you share your knowledge and skills?

Earlier in my career, when I had more time and energy, I ran a small private art school attended nearly daily by a considerable number of students, children and adults. Further on I felt that teaching that much interfered with my own creative process. This is why at present I only teach one 3 to 4 hours' class per week. We mainly paint portraits of sitters. On fine days we go outside and either paint landscapes or a sitter. Sometimes I organize plein-air study trips abroad (mainly in spring or autumn) to southern counties like Greece, Italy and Spain.