Petr Aleksandrovich Maslov | |
|---|---|
 Petr Maslov at the launching of the book by Sergey Kovalchuk "Indonesia. The territory of centuries-old traditions" at the bookshop "Biblio Globus" in Moscow (30.8.2019) | |
| Born | 19 July 1962 |
| Nationality | Russian |
| Education | Moscow State University of Printing Arts |
| Known for | graphic and installation artist, book designer |
| Website | [1] |
Petr Aleksandrovich Maslov (Russian: Пётр Александрович Маслов) (born 19 July 1962, in Novokuznetsk) – is a Russian graphic and installation artist, and book designer. Grandson of the famous Russian sculptor Isidor Grigorievich Frih-Khar [1]
He began to draw in high school - in the 9th grade he received his first recognition by winning the inter-district poster contest "Peace in the World". In 1989, he graduated from the Moscow State University of Printing Arts (formerly Moscow Polygraphic Institute).[2]
Freelance artist. Master of performance, design of books, catalogs (mostly for the State Museum of Oriental Art), websites, snd advertising. Among the installations are “Goffman’s Golden Pot” (2009),[3] “Thinking” at the Center for Creative Industries “FACTORY” (2011), a series of sculptures wrapped in cellophane, several installations in the Mountains of Sicily (Italy). Among the most notable works are the cycle “Angels” (2006), “Sicilian House” (2013), “Dinner” (2016), “Girl in a Blue and a Mask” (2016), “Collective Farm ‘A’. Milkmaid, Foreman and Tractor Driver ”(2016),“ Strange Day ”(2016),“ Chinese Woman ”(2017”, “Nothing” (2017), “Dovecote” (2018), “Portrait of Conchita Wurst” (2018), “Thoughts about love ”(2018).
Solo exhibitions were held in Moscow, Turin (1990, 1995), Johannesburg (1992), Berlin (1994, 1997), Luxembourg (1996), Tallinn (2006).[4] His works are kept in private collections in Russia and abroad.
... His characters come to us from Byzantine icons, from the walls and arches of Roman temples, and from conditional mythological space, and then appear in the real world in a completely different context. At the same time, the artist depicts people and the world, choosing borderline situations for this both in form and in content. If we talk about the form, then his paintings are “on the edge” of the icon, murals, plastic experiments, and this form is quite adequate to the content - the transition from eternal to temporary and vice versa. - Galina Balashova [5]
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