Alright – so today we’ve got the honor of introducing you to Marina Feldman. We think you’ll enjoy our conversation, we’ve shared it below.

Marina, looking forward to hearing all of your stories today. Are you happier as a creative? Do you sometimes think about what it would be like to just have a regular job? Can you talk to us about how you think through these emotions?

I am extremely happy that life gave me the opportunity to create and find myself in art. It takes many years of hard work, and having a ‘regular’ job makes it difficult to find time to follow your dreams. Throughout history, it has been difficult for artists to create among the challenges of making a living and under the pressure of outside opinions. If artists did not persevere and make these sacrifices, we would have no brilliant creators.

I have received many comments referring to the ability to create as a ‘privilege’ and a ‘simple way of life’. I wish it was. Being a full-time artist means at some points in your life you have support, at others you do not. Similar to any entrepreneur, you have only yourself and your skills to rely on. I have had a range of jobs, from graphic design, to running my own studio, to working with theatre productions, to illustrating books for authors and more. I love that I am forced to adapt through my chosen path, work on different projects, meet other creatives and see my students grow.

I once heard a beautiful saying that the muse will visit a banker who is destined to be a ballerina once, twice, a third time, and then will leave forever. I am simply one of the people who chose to follow the muse. Van Gogh said that even if one person needs your art, it is worth continuing to create. I would not trade the feeling of true self-realization for any increased sense of stability or conventional measure of success.

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.

I am a third-generation artist born in Moscow, USSR, where I was immersed in art from early childhood. From my grandfather’s jewelry-making to my father’s painting, engraving and drawing, I absorbed the drive to observe and create. I attended the Moscow State University of Printing Arts, graduating with a Master’s Degree from the Faculty of Graphic Design. I participated in many exhibitions during my college career, but was always searching for my own style. After many years I found my style, having built a community and network in the process, finding the Key to Art art studio in Toronto, Canada. My ever-increasing portfolio reveals the contrasting cultures and settings I have experienced throughout my life. I continue to be very active in the interdisciplinary cultural scene. I have contributed art to the Waddington’s and Harrington’s auctions, the Toronto Art Expo, community events, theatre productions, fashion shows, galas, literary publications and more. I have prepared students for applications to top university art programs, including at OCAD University. I recently sold my first painting in New York City.

My greatest achievement is the evolution of my style. After years of searching, ideas about music and dance began to come to me. It was quite strange, since no one in my family studied music, though a visit to a ballet studio as a child left quite an impression on me that often resurfaces. I began to intentionally explore movement in music and dance, asking myself how to convey the plasticity of movement over time through one frozen frame. Though I paint a range of subjects, music and dance became one of my signature themes. My art, primarily oil on canvas, treads between the real and the unreal. I challenge natural order and conventional perceptions of everyday life to discover novel forms, such as a seemingly impossible pose of a dancer. Without re-inventing or subverting the dancer’s style, I simply stretch the limits of their ability within the physical laws of my design. The subjects of my art remain unresolved, always reaching and exploring, which resembles my own creative process. My work touches upon universal themes of the arts, human relationships, nature, search for the meaning of life, as well as my deeply personal journey as a woman, mother and creator. I strive to carry and innovate the technical excellence of past artists, and apply it to the turbulent landscape of contemporary expression which any viewer can connect with.

Any resources you can share with us that might be helpful to other creatives?

Since very little structure exists for the path of an artist, I definitely wish I knew about certain opportunities, spaces and strategies sooner. These would have increased chances of gallery representation, auction presence, follower volume and personal brand recognition. My biggest mistake was always thinking that, without current representation, no one will pay attention to an artist. I thought ‘breaking through’ was a lucky rarity in a vicious cycle of rejections. It is only after the encouragement of others that I would send an email or call an art professional, and even the few times that I did, some of them gave positive responses and were happy to move forward with my art. If I had understood the importance of outreach and networking for artists at any level, I would have spent more time connecting with art critics, gallerists, and auctioneers earlier on to gain momentum.

In addition to networking, I wish I knew that organizational ‘prestige’ should not be a stop sign, but rather an invitation to attempt and apply. I used to think that top auction houses are completely inaccessible, and though they are indeed extremely exclusive, the judges and appraisers are also people who are happy to provide advice or even accept a certain piece if only you can get it in front of them. I wish I knew that you lose nothing by trying to get your art in front of critical figures no matter the intimidation or inaccessibility. Lastly, I wish I knew about numerous juried shows and publications which can provide pathways to recognition in addition to galleries and auction houses.

What’s the most rewarding aspect of being a creative in your experience?

The biggest privilege of creating art is the breadth of the target audience. My intended viewers are everyone and anyone who finds something that speaks to them within my paintings. My art has brought people of all backgrounds with all kinds of stories to my doorstep to collaborate with me, learn from me, or become followers of my work.

My art school and success of students, including a 1st Place victory in the Nikita Marner Youth Art competition and illustration for Alexander Gorodnitsky’s poetry collection “To Children”, is an important source of inspiration in my life. Seeing students of any age master the skill of creating feeds right back into my own purpose as an artist. Having not intended to teach initially, it is deeply rewarding to see a make-shift classroom intended as a favor for a family member grow into a fully fledged studio with a stream of students that refer others in turn.

Part of the reward comes from within; an irreplaceable feeling of fulfillment when I work hard toward exploring themes, compositions, colors and media, and end up producing a result that conveys my desired vision. Even though I believe all you need to create art (once you have the technical skills) is the right inspiration at the right time, this may happen rarely. When I feel an alignment of my inner voice with a physical product, I am finally satisfied with my work. The subjects of my paintings are part of a spiritual thought process for me. Even though I often depict realistic scenes and objects, the way to depict them often comes to me after semi-spiritual work and internal reflection on episodes in life. This process of creativity is one of the most challenging yet exciting elements of my journey as an artist.

Contact Info:

• Website: https://marinafeldman.com
• Instagram: marinafeldmanartist
• Other: https://www.artnet.com/artists/marina-feldman/

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