Art Explosion studios, Mission, San Francisco


Born in 1973, in Saint Petersburg (then Leningrad), Russia, Stanislav studied in School at the Academy of Fine Arts, and at Saint Petersburg State University.


He worked in computer graphics beginning in the middle of the 1990s and was the lead graphic designer for electronic expositions of biggest Russian museums, including the Moscow Kremlin, State Russian Museum, and Kunstkamera.  


While in graphic design, Stanislav developed as a painter and began exhibiting his works at the end of the 1990s. His most recent personal exhibitions were held in Saint Petersburg – one with the support of State Hermitage Museum in the palace of Grand Duke Vladimir, which belongs now to the Russian Academy of Science, and the other in the Anna Akhmatova museum at the Fountain House.


In 2011 he moved to San Francisco, where he now lives and works.

Psychological, emotional portraits

My models are people that I know, however the process of each
painting's creation is far from simple portraying of a model.
At first I develop an image I wish to reflect, and only when I get

a strong visualization of this image, only then I start selecting

a model. At the same time, in order to preserve an essence

of the image I'm working on, I, myself, have to act as a model too, playing the role, and growing in myself the emotional state

that I need.
Thus, the painting becomes an "emotional snapshot" of a person that
does not exist in reality. And so the way that I use my models has
rather technical, anatomical perspective.


palette knife,canvas,oil

Work​ and tools


A long period of preparation and sketching precedes every painting, as I thoroughly choose and explore a subject – which may still be simple and taken from immediate surroundings. The subject is always tied to an emotion, which is often socially real and not always pleasant. The final stage of painting itself can take many hours, and can’t be interrupted. I cannot take breaks, as the process of image creation as a segment of life has the highest importance, and cannot be stopped; with a break something else is always bound to start evolving.

My tool is a palette knife; I use brushes only in the preparation stage. A palette knife gives me a feeling of vitality and of full control over the texture. This technique reminds me infinite blend and merging of arbitrary details and particles one sees in nature.

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