A Refining Conversation with Olga Krimon
courtesy of artist
Olga Krimon is a visual artist born in Odessa, Ukraine. Olga's artwork evaluates the reality around where she takes it all in and releases it through her artwork and the perception she gets from it all. Her artwork has been exhibited widely in art spaces and galleries. She is represented by Reinert Fine Art, Galerie L’Oeil du Prince, Leiper’s Creek Gallery, La Bottega. She has exhibited in international and national exhibitions such as the Arcadia Gallery, the VRFA Gallery, and many others. She has won numerous awards from the Portrait Society of America (PSOA). I had the pleasure of asking Olga about the benefits of pursuing an MBA, what artists living or dead would she want to interview, and any thoughts she currently has about the state of the Art and what is going on today politically.
UZOMAH: What vital lessons have you learned from studying to get an MBA that you have applied in your artistic career?
OLGA: An MBA doesn't give the specific tools on how to manage an art business. At least not in my case, especially because my emphasis was on IT management. An MBA, however, played a big role in my art career:
It proved that it's never too late to pursue a new path, as long as you give it all and you are passionate about it.
It gave me the financial stability that later allowed me to take a big risk to become a full-time artist. I was not able to just make that jump. Everyone has their path, and mine was to work hard to build the foundation.
It gave me invaluable project management skills, translating into art projects. I am even PMP and SCRUM Master certified (it's not relevant to the art world, but yes, I believe that PM skills translate to almost anything in life).
It gave me relationship-building and presentation skills that I think are invaluable when managing your own business.
It opened a new path in the corporate world for me.
I had an opportunity to try myself in a very interesting career and work with very talented people. And this gave me time to really understand what I wanted and what success – and happiness – meant to me. I started my art career in parallel (even though I could only spend nights and weekends painting. It was a very tough period, and a sleep-deprived period for sure). My decision to pursue Art full time wasn't an emotional one. It took a lot of time, work, and planning. By the time I left my company to become a full-time artist, I had already worked with galleries and had a list of national exhibitions and awards. I couldn't just jump into the art business; I had to slowly prove that I could and build the way to enter it.
I had to become an artist because it was the only right way to live. I chose the artist path because this is what I truly wanted. And I am thankful every day that I get to do what I am passionate about. And I feel that without the MBA, I would've always wondered.
Weightless, oil on linen, 18x24 inches
U: How would you use your Art to portray a reflection of the world today?
O: I've always been, and I think always will be interested in the intimate personal spaces, in portraying the mood, the feeling, the transient light, the reflections on the water. It's the world as I see it. I do not think of being contemporary; I don't care for Art having a message or supporting certain current trends or political statements. To me, Art is beautiful and timeless. It makes you stop, take your breath, follow the world it leads you into. That's what I want a viewer to experience in my paintings.
U: What project have you wanted to work on but haven't and why?
O: I've wanted to create very large paintings. I created some 48x48 inches works in the past, but it's been a while. And I want to go larger than that. That's definitely taking me out of my comfort zone. No, size doesn’t matter – but knowing that I am intimidated by very large canvases I just have to conquer them someday.
Guard, oil on ACM panel, 30x30 inches
U: In what ways does academic realism contribute to your artistic process?
O: I come from that tradition. I feel that an artist needs to be trained, and only then can he or she explore other ways of expression. If an artist takes a completely different path – let's say abstraction, to be extreme – it's a conscious decision and a thought-through means of expression. It's not because of the lack of skill. Art education gives the knowledge, the ability to see and create, not to mention the knowledge of art history to learn what's been done before you. You are heavily influenced by this training.
That's how you know where you fit in this whole world. It gives you the skill and the ability to position yourself as a professional. There are so many good schools these days that give a great basis for any artist. But I do not mean formal training in a specific school or an atelier – an artist could be self-taught, and I know quite a few. Especially these days, with so many online classes, demos and so many great sources of information.
However, there is another side to this, and I give it a lot of thought. Once you are deep in it, it's hard to break from this tradition, from what you've learned, and to know how and what you want to break. It keeps pulling you back. You can't just stop there. You have to find your voice and your way of expression. The artist's unique path may develop very slowly, one step at a time. It’s a work in progress, always.
U: Who has had the most significant influence on you regarding how you see and create Art?
O: I grew up in the Soviet Union, raised on the works of the Russian masters. I studied in a traditional academic art school. Aside from a visual vocabulary and the skills that I acquired then, I think the biggest impact was the early realization of the amount of work and discipline required by this career. I had years of art history lessons (first in Russian art school, then getting a BA in Art History). I am very heavily influenced by the works of Rembrandt, Sargent, Zorn, Sorolla, Repin, Serov, Arkhipov, Levitan. The list goes on and on. So I'd say that was the start. Then came years of self-study, when I discovered Richard Schmid and Sherrie McGraw (their videos), Jeremy Lipking (his workshop and then a year of his weekly classes), and drawing classes with Glen Orbik. They shaped my approach and changed the way I defined realism at its core.
And then came Nick Alm, Julio Reyes, Ron Hicks, Jordan Sokol, Edward Povey, and so many creatives I continue to discover who find their own voices, new ways of seeing new ideas. They influence me daily.
It's much easier now, as you can find some demo videos of many contemporary artists. But demos are different from creating a full-scale painting, and the approach is not necessarily the same. So yes, there are many contemporary artists who I would absolutely love to watch.
Away, oil on linen, 16x20 inches
U: How important is it for the artist to know the business side of art and the creative side?
O: I think it's imperative. I do not mean going to a business school to get those skills. Most artists acquire them by doing, by trial, and by failure.
First and foremost, there is a business relationship-building part of this career. It's hugely important to work with the galleries and the collectors to create those long-term relationships that carry on. Second, it's the knowledge of the art market and your place in it – and that translates into your pricing strategy, among other things. Third, it's the ability to withstand the ups and downs of sales through money management and financial planning.
Art demands the discipline to be at the easel and create, create, create. Those who think it's all about the inspiration have not had a life of an artist. I do not recall the artist who said this, but it went on something like this. He was asked when his inspiration hit. He answered that the inspiration hits every morning at 8 am when he goes to his studio and faces the canvas.
I had a post MBA career in IT consulting and corporate management. And having the experience on that side, I can say for sure that the art career is a much more difficult one and a much riskier one than anything I've seen in the corporate world. You go into Art because it's the only right choice. After all, you are meant to do it because that's what brings you fulfillment and happiness. And you are willing to take on the risks that come with it.
And you are willing to give it all.
Birthday Cake, oil on linen, 18x24 inches
U: What artist living or dead, would you like to interview, and why? If you could only ask them one question, what would it be?
O: There are so many. And to be honest, I wouldn't want to interview them; I would want to simply watch their process of creating a painting from inception to completion. Every single step. I would've loved to watch Sargent, Zorn, Sorolla paint. I would've loved to see how Vrubel approached his The Demon Seated. I would've wanted to be in the same studio with Repin and Serov and just take notes. I would've loved to go to the countryside with Levitan. And just observe them.
U: What are your thoughts regarding Art and its importance in societal issues, and what is going on currently?
O: That's a very good question. I never thought of this. To me, Art was always so separate from anything political. Art was timeless. Beautiful. I don't think Art is meant to serve as a political or social statement. It's never about that kind of agenda to me. But I need to think more about this. Maybe what are the specific questions along those lines that I can think through and answer?
I lived in the Soviet Union. I was born in Ukraine and have lived in Russia since I was 1. With every summer spent in Ukraine (plus 2 years at the Odessa University), I loved and love both. I am not going to comment on what's happening as it's a completely separate topic from the art topics discussed here. I do not follow Art that makes any social or political statements. I do not read about artists' affiliations that are outside of Art. To me, Art is not about that at all. It's about a journey into the inner world, stirring emotions, and taking a moment to feel and visually transport. It's about being a master of your craft - or at least aiming to be one. It's about the discipline and perseverance to develop your unique voice. It's about something timeless. It's about healing and fulfillment. It's about beauty. And through that - it's about humanity.
For more information about Olga’s artwork, please visit her site. You can also follow her on Instagram.
