I was born in Russia, where my early life was shaped by intense curiosity and a deep pull toward philosophy, art, and inward exploration. Encouraged by a driven and intellectually ambitious mother, I was admitted to both an art school and a music conservatory — but at her insistence, I began formal studies in music.
Though I trained seriously as a pianist and later worked at the conservatory, my commitment to painting never faded. Over time it became clear that the canvas, not the keyboard, was my path. When our family relocated to Norway in 1981, I set painting aside for a period of years to raise a daughter — but I knew I would return.
That return came through a meeting with the Norwegian painter Odd Nerdrum, who invited me to study in his studio. I accepted, and for nearly two years I worked closely under his guidance, immersing myself in the rigours of classical painting. It was an essential period — not only for technique, but for learning what kind of painter I aspired to become.
Shortly after this period, my work caught the attention of an American gallery, which marked my professional debut in the United States. This exposure played a crucial role in affirming my commitment to a full-time studio practice.
When my daughter started university, I made the decision to move to London — a city I had always admired and longed to experience more fully. At that point I had already held several successful exhibitions in Norway, and for the first time, I had the freedom to pursue painting abroad without immediate pressure to earn. I gave myself two years. It became thirteen.
One dream came true: in my second year I was accepted into the BP Portrait Award and exhibited at the National Portrait Gallery — a milestone I had long hoped for. But another dream had to be shelved. I had come to London with the ambition of holding a solo show, but arrived just before the 2008 financial crisis hit. The gallery scene shifted overnight. Spaces focused on survival, not discovery, and new artists were no longer being taken on.
After the National Portrait Gallery exhibition, I began receiving portrait commissions, which opened the door to a new phase. Through these portraits I met extraordinary people, and this practical turn deepened my relationship with painting in an unexpected way. At the same time, I began submitting to international competitions — something I had never considered before.
This decision brought new energy. I discovered the American competition circuit, ModPortrait in Spain, and MEAM in Barcelona. Being accepted — and later winning first prize in the ModPortrait award — became turning points in themselves, bringing recognition and momentum at a time when gallery routes remained uncertain.
After more than a decade based in London, I chose to return to Norway to be closer to family. I now live and work in Oslo and continue to exhibit internationally.
My work remains grounded in the classical tradition, but over time the visual language has grown more distilled. Light, spatial rhythm, and quiet psychological tension have become central. I continue to focus on the human figure and the emotional weight of interior space, with new paintings shifting toward a deeper clarity and symbolic resonance.
This is the direction I follow now — toward work that holds presence, and offers something enduring.