Poetry in Paint: Artist Zhenisbek Uteshov’s “Single Breath”

“Painting is poetry embodied in color and form.” For Kazakh artist Zhenisbek Uteshov, these words are more than a motto—they are a true calling. His works represent a dialogue with nature, captured in a "single breath" during plein air sessions, and a deep dive into his signature style: Fuantalism. In this interview, Zhenisbek shares his story—from his first steps in art to the international stage—explaining how the spirit of the steppe and raw intuition guide the master’s hand to create living, breathing canvases.

Zhenisbek, you describe painting as “poetry and a calling.” How did your journey in art begin, and what inspired you to choose painting as your primary form of self-expression?

To me, painting truly is poetry. Just as poets compose verses or songs, I give birth to paintings in my studio. To be honest, I didn’t initially expect to become an artist. After the 11th grade, I simply enrolled in the Faculty of Painting without fully knowing where it would lead. But over time, while studying in the pedagogical department, I realized that professional painting was my life’s work. Nature, where I often go to work, became my primary source of inspiration.

What is Fuantalism, and how did you come to create this symbolic style? What are the core principles of this signature method?

Fuantalism is a pointillist technique. I developed it because I was looking for a way to stand out. I saw many artists using palette knives, spatulas, or standard brushstrokes. I wanted to find a unique method. I started experimenting—one painting, then another—and I became truly fascinated. In this technique, I paint with dots, and sometimes I lightly go over the canvas with a dry brush to create a specific atmospheric effect. This became the foundation of my signature style.

Tell us about your working method. You’ve said that “the hands move by themselves, and the canvas tells you where to place the stroke.” How does this intuition balance with the need for technical control?

At the beginning of my path, I worked extensively with sketches, reflecting for a long time and making many corrections. But after a while, I felt as if I “opened up.” Now, I paint without sketches, relying on my inner vision. Technique now follows intuition: I simply look at the canvas and feel where the stroke should land. The process has become more alive and immediate.

What does plein air mean to you, and why do you call it “life, air, and breaths”? How different is a work born outdoors compared to studio painting?

Plein air helps me “clear my palette” and find new colors and ideas. In nature, I see forms differently: rivers, trees, seasonal changes—all of this provides an incredible gamut. In the studio, I work more reflectively, but during plein air, I paint in “one moment,” pouring my feelings onto the cardboard or canvas. I might alter forms—making them more rounded or oval—to convey the very essence of air and life. For me, plein air is inspiration in a single breath.

Your work blends the national traditions of Kazakhstan with modern artistic trends. How do you find this balance, and how is it reflected in your use of color and form?

In my work, there is no direct use of Kazakh ornaments, but the spirit of our steppe lives within them—the beauty of flat horizons and the energy of the wind. I look for unusual forms in nature: twisted trees or unique lines in a landscape become dear to my heart, and I transfer them to the canvas, adjusting the style and plasticity. I strive to paint so that my perspective remains original and unlike any other.

What emotions and ideas do you seek to convey, and what is more important to you—technique, emotion, or the interaction with the viewer?

I don’t paint specifically “for people”; first and foremost, I express my own emotions and ideas inspired by nature. Steppe grasses, sunsets, ancient houses—all of these stir feelings in me that I transfer to the canvas. The most important thing for me is that I like the work myself. If I feel sincerity in my painting, I am certain the viewer will feel and appreciate it too.

After 13 years of participating in national competitions, how did winning the international Golden Time Talent competition affect your career and your dream of reaching a global audience?

For a long time, I entered competitions without winning prizes; I painted simply for the sake of the process. But winning Golden Time Talent was a massive achievement and a huge boost. I always dreamed of reaching a global level, and this competition was an unexpected and powerful catalyst. It gave me the faith that my work could be recognized on the international stage.

How do you handle creative challenges and find the motivation to keep going when the “creative hands” aren't moving on their own?

When I sit before a blank canvas and feel that the process isn’t happening, I don’t force myself. In those moments, I go for a walk, ride my bike, or just go out among people. Communication and silence help me restore my creative imagination. Nature and quiet reflection are my best healers in those times.

What goals have you set for yourself internationally? Is there a specific dream project you want to realize on the global art scene?

My dream is to participate in the world’s largest art platforms: biennales, art fairs, and symposiums. I want to grow, meet foreign colleagues, and study their approaches. My goal is to move forward, create large-scale canvases, and present my work at major international exhibitions to share my vision of the world.

How does the public perceive your paintings? Are there any specific reactions that have stayed with you?

People react differently, but for me, the main thing is that the work is written from the heart. I analyze, practice, and fantasize a lot during plein air sessions. When a viewer senses the depth of imagination invested in the painting and shares my feelings—that is the highest praise.

What does freedom in art mean to you, and how does it manifest in your work, especially within Fuantalism?

Freedom is the ability to paint in one breath. During plein air, I don’t work on details; I work holistically, using spots and lines to capture the moment. In Fuantalism, this is expressed through dots and color patches that merge into a single image. This sense of freedom in every stroke allows me to create vibrant, emotional works.

How do you see the role of art in the modern world, and what is the role of your work in cultural dialogue?

Art should surprise people and provide them with spiritual rest. My task—through color, form, and paint—is to make the viewer pause and feel something new. I want my paintings to help people perceive the world more deeply and brightly, entering into a silent but vital dialogue with beauty.

What advice would you give to aspiring artists who are just starting out and looking for their own recognizable style?

My advice is simply to work hard and love your craft, no matter what. Be industrious, participate in exhibitions and projects. Look at the world attentively and colorfully; use your imagination and study the experience of the masters. The main thing is to keep moving forward and believe in what you do.

The story of Zhenisbek Uteshov is a reminder that art does not tolerate falsehood. His journey from academic sketches to the free, almost meditative technique of Fuantalism proves that true style is born where technique meets sincere feeling. Today, as the master’s canvases begin their journey through global galleries, they carry with them a piece of the Kazakh steppe—its vastness, its wind, and its unique light. As long as the artist’s hand continues to follow intuition and every stroke remains “one breath,” we can be sure: this creative dialogue with the viewer is only just beginning.