Born in Yaroslavl (Russia) in 1959, Mikhail Priorov studied at the Art School from 1973 to 1977 and graduated from Moscow Art College in 1982. He pursued his artistic training at the famous Stroganoff Art University, graduating in 1987 when he began to work at the Zagorsk Artistic Fund.
That same year Mikhail joined the International Federation of Artists. Since 1981 Priorov has participated in numerous local, national and international exhibitions. Solo exhibitions include Moscow House of Cinema in 2004; Mosfilm in 2003; International federation of Artists (UNESCO) in 2000; Moscow International Cinema Festival in 1999; Gallery ACTION, Moscow in 1998; Moscow Artists on TV, also in 1998; Noise Club in 1997, as well as RT Gallery for the Arts and the Winter Nights Festival. In 1996 he showed at the Russian Division of Culture; in 1995 at Chaffee Center, Vermont, USA; and in 1993 at Chasse Loup-Laubat 17, Paris. In 1987 he began combining painting with tapestry design and mural work.
A considerable part of his work is devoted to musical cycles, totaling thousands of pieces no two of which can be called identical. No matter how many times the artist returns to the chosen theme, he never fails to be innovative, conveying endless compositional variations. Strong attachment to his national heritage and traditional Russian icon painting greatly influence his work. In his vision, these things are not only relics of, but a part of, the living present. Old and modern are inseparable - the past entering and living in the present as its primal element.
Having spent his childhood in Yaroslavl, an ancient Russian town lying at the confluence of the Volga and the Kotorosl rivers, the contrasting hues of the picturesque town, the bustle of the port, the fairs, and the festivals were the source of unforgettable childhood impressions that lay the foundation for his love of "the living past". Many years would pass, however, before these influences surfaced in the artist''s work.
Mikhail Priorov is an artist with a broad range of interests. He is well-versed in music and poetry as well as painting. He plays saxophone in a jazz-group and, in his work, often uses musical and poetic imagery.
Exhibitions for Mikhail Priorov:
1982-Yaroslavl Artistic Union 1983-Moscow Young Artists on VDNH 1983-HERBST,Frankfurt,Germany 1984-Moscow New Arts Center 1985-Jazz & Painting,Moscow 1987-Young Artists at Kuznetsky 1990-Malaya Gruzinka 1992-Solo exhibition, Paris 1994-Chaffee Arts Center, Vermont 1995-Moscow Autumn 1996-Moscow Artists on TV 1997-Stokholm Kulturuset 1998-Solo exhibition in Nice (Russian Center) 1999-All Russian Artistic Union,Moscow 2000-Solo exhibition IFA
Collections for Mikhail Priorov:
Modern Art Center, St.Petersburg, Fl,USA Gallery "Vert", Moscow, RF Gallery "Khirova", Moscow, RF Gallery "3000", Moscow, RF A. Croll, Moscow, RF Rene Guerra, Paris, France D. Miller, Paris, France G. Lapierre, Paris, France H. Kruff, Bonn, Germany O.Prikhnenko, Paris, France M.Collier, Avon Park, Fl, USA
Reviews for Mikhail Priorov:
Artist Reviews in English, French, German and recent works You can browse at http://priorov.narod.ru http://priorov.PaintArt.ru
Priorov Mikhail describes his creative process as analogous to the improvisation of a jazz musician. Priorov's work is available in original oil paintings on canvas and tempera paintings on paper. Mikhail Priorov copyrights all images.
ARTIST'S STATEMENT: IMPROVISATION WITH PAINTS
My painting process is comparable to the improvisation of a jazz musician. I start out with a selection of colors, shape them into a beginning melody, and then move out further and further to see where the riff will take me. Music is primary to my art. I paint standing up, with my stereo blasting anything from my favorite Miles Davis, Chick Corea or John Coltrane.The rhythms, beats and patterns I hear create a mood that is reflected in the lines, shapes, and colors on my canvas. It is an active process that demands a looseness and openness to whatever might happen. I currently work in tempera or acrylics, which dry fast and allow me to apply several layers, working on the painting over days or weeks until it comes together in an aesthetic harmony. It is the painting surface that I love—the tastiness of color in its thick and thin varieties—flat and thick to keep the eye on the surface, or clear and fresh to suggest deep space. Line is another love of mine, and I often draw directly with a tube of paint, dissecting the surface in complicated paths. There is always a tension between throw away and control. It is a risk to let the brush or palette knife sweep across the canvas without knowing what will happen. Sometimes the result is an amazing gift, but more often it is a test that requires much patient looking to see what the painting requires in order to complete itself. My goal is to stay as close to the edge as possible—to keep that sense of natural happening, as if the painting had grown itself rather than having been crafted by me. Yet it is the artist’s eye, which seeks to prevail—telling the hand to add that last brush stroke which brings it all together.
I paint to loud music--classical, rock, jazz, blues, new age--whatever it is that makes me want to open a tube of paint that day. My limbs move to the beat. I stretch, leap, splash--frenzied or at peace, but never settled, never in a comfortable place. I have to keep moving, to spend my time on the boundaries looking over the edge. I don''t want to paint anything I''ve seen before. My work goes best when I tune out the words in my head and ... Read More