“Everything we love is about to die, and that is why everything must be summed up, with all the high emotion of farewell, in something so beautiful we shall never forget it.”
As a former Ivy League research scientist with a Ph.D. in cognition, philosophy and statistics, Arstyr honed her understanding of the laws of human nature. For Arstyr, humans, caught at a crossroads between the inescapability of their inherent character and the impermanence of life, can only resort to artistic expression of beauty as an act of free will.
Seeing her predicament as being a Cassandra —an expert in the prediction of human behavior, whose laments are futile — she expresses her intuitive and analytic realizations through painting, in the most true, integrated way that she can.
Arstyr holds that the artists of the 15th century in Italy and Northern Europe had an unsurpassed strength and essence of expression; their art is her inspiration and aspiration. However, since the content of her art relates to the surreal, the visionary and subconscious, and to problems of modern society, she feels connected to artists such as William Blake, Odilon Redon, Curt Amiet, Alfred Kubin, Max Ernst, and Dorothea Tanning.
Her latest project “My European Faces” , a series of 53 amusing and pleasing portraits, is a study investigating what makes Europeans European. It should be self evident that Europeans, while a cantankerous and dysfunctional pastiche, share a deep and indelible bond. This series intends to demonstrate to Remainiacs and Brexiteers alike that you can take Britain out of Europe, but you can’t take Europe out of Britain.
Ever since I can remember, many people felt that I was too advantaged. Little did they know, how hard I had to struggle to overcome severe psychological and social impediments and transform them into purpose.
The principles I wish to live by are:
Do no harm
Become who you are
My way of pursuing these principles is to create art, mainly in the form of paintings.
I started painting at a very early age. Obsessively creating for myself a world of beauty, one that had all the love and support that was missing from the one that I was trying to survive in. I painted for myself, and I loved painting. When I started to be “taught” how to paint, and painting became more of an identity than an expression of it; when I painted for others, I became disenchanted with it.
Today, I paint without guile. Freely incorporating techniques from the early renaissance to postwar modern art, I express my inner world, mostly in the form of portraits. I paint what I like, without consideration of extrinsic goals. Unlike many artists, I don’t need to define my identity; I have to feign neither sophistication nor naïveté, neither intellectualism nor savageness.