In the modern art world, where the boundaries between classicism and digital technologies are becoming increasingly transparent, the figure of Dmitriy stands out for its special monumentality and, at the same time, sincerity. A versatile artist, educator, and official member of the Global Talent Confederation, he has managed to combine the anatomical precision of Renaissance titans with the explosive dynamics of pop culture in his work. In this candid interview, the master shares his thoughts on "creative audacity," the role of artificial intelligence in an artist's studio, and how art is capable of healing society by breaking through the walls of indifference.
Dmitriy, you are known as a versatile artist, but oil painting has become your main specialization. How did you come to this specific material, and what inspires you most about it when working on portraits and fantasy?
The question is indeed interesting. Oil painting for me is a material that is surprisingly pliable and fascinating in itself. Its main advantage is that it takes quite a long time to dry. In the process of working on a painting, there often comes a moment when your eye simply gets tired and loses perspective. Then I realize that now I need to rest, and tomorrow I will look at the canvas with fresh eyes and perhaps correct something. And as practice shows, the next day you really see nuances that are easy to fix while the material hasn’t dried yet. This allows you to keep working magic over your painting until achieving perfection.
I am very inspired by the theme of portraiture combined with fantasy. Ever since childhood, I liked magic and enchantment, and when I learned to embody this in paintings, I realized that an artist is also a kind of wizard who possesses the magic of creativity and passes it on to the viewer. In a portrait, you can create something unusual, like in my work The Dream Keeper. It depicts a girl in unicorn pajamas, with cosmic patterns visible on her face, holding her small dreams in her hands. She is immersed in the Universe and can control good dreams, giving them to people. It is precisely this combination of reality and fairy tale that interests me most.
Your style combines the influence of classics (Caravaggio, Michelangelo) and the "king of comics" Jack Kirby. Tell us, how do you find a balance between the academic school and the dynamics of pop culture in your creative process?
The style of combining classics and pop culture is a deep and pleasant question. Masters of the past, such as Caravaggio, Michelangelo, and Leonardo da Vinci, have always amazed me with the colossal labor they put into art in those distant times amid fierce competition. If you take Michelangelo Buonarroti, he possessed a unique talent: looking at a block of marble, he could already see the finished work inside it. His precision was astonishing, because the slightest mistake would mean the ruin of all the work. Caravaggio inspired me with his play of lighting and the balance of light and shadow, which made his works brilliant despite his complicated lifestyle.
At the same time, I greatly respect Jack Kirby, who is called the king of comics. This man built the Marvel industry practically from scratch and developed characters with clear rendering and deep meaning. Today, entire movies are filmed based on his works, and yet it all started with the immense hard work of one master. In my creative process, I draw inspiration from the classics and try to see the finished work on the canvas beforehand, but at the same time I combine this with elements of pop culture, making my paintings more modern and relevant.
You believe in practice and "artist's audacity" as a remedy against creative crisis. How do you maintain a consistently high level of motivation and cope with physical and emotional fatigue, given your active exhibition activity?
I believe in practice and artist’s audacity because it is the best motivation and a protest against critics. In art, there will always be people wishing to criticize your work and shatter your desire to create. This is a kind of test of endurance: to succumb to criticism and give up, or to accept everything and step forward boldly, pushing all critics aside. An artist must have a core of competitiveness against the system. You need to be morally strong and believe in practice, because only daily labor over decades helps you improve yourself.
I maintain my physical and emotional state thanks to my beloved son Alexander. He is a little person who always supports me and sincerely admires my works. Recently we exhibited together in Karaganda in the ArtStart project, where he presented a series of four oil works titled Happiness. When you stand on the same arena with professionals alongside your child, and his works are sincerely praised — these emotions cannot be expressed in words. My son is my main motivation and joy; thanks to him, I cope with all difficulties.
Tell us more about Alexander's participation in the "ArtStart" project. Do you plan to create a joint creative project or exhibition "Father and Son" in the future, where your fantasy portrait works will engage in a dialogue with Alexander's sincere children's paintings? How could such a collaboration influence your vision of magic in art?
Alexander’s participation in ArtStart evoked incredibly strong, incomparable emotions in me. I watched him from the side and saw how emotionally energized he was by that special energy of viewer attention. I deliberately stepped aside and gave him the opportunity to communicate with the audience himself, because in such moments a true artist is born — when he is one-on-one with the viewer defending his ideas. In the future, I have indeed set a goal to realize a large joint project — the “Father and Son” exhibition. It will be a unique event where I, an adult master with an established style, might even have to adapt to him. A tremendous number of ideas are born in Alexander’s head, which he embodies playfully, boldly, and very quickly, without looking back at canons.
Such a collaboration will certainly refresh my own vision. Children feel magic much more acutely; their magic is sincerity without filters or frames of “correct” art. In my fantasy portrait style, there are many details, techniques, and thought-out philosophy, while in Sasha’s works there is pure energy and the joy of a pioneer. The dialogue of our works will create that very bridge between professional technique and the pristine purity of the soul. It will make me look at the very concept of magic in a new way: after all, it lies not only in complex glazings or ideal chiaroscuro, but also in the ease with which a child creates entire worlds. It reminds me that childhood passes fleetingly, and such projects are the best way to fix this bond of generations in the eternity of the canvas.
You have been a member of the Global Talent Confederation for more than a year and actively present your art on the international stage. What key solo exhibitions have you held, and what international exhibitions and events have you participated in over the past year?
For me, it is a huge honor and a matter of professional pride for the second year in a row to be an official member of the Global Talent Confederation. It is an incredibly pleasant and prestigious feeling — to be inside an international system of creativity, to have the opportunity to meet outstanding colleagues from various countries, and to participate in the life of the global art community as a jury member. This is a big responsibility: it happens that during one competition season such a colossal volume of works arrives that I spend whole nights carefully studying and evaluating each of them. And every work finds its response, evoking unique emotions. Over the past year, my talented student Sofia Tuleubayeva and I took part in an international festival in Astana, where she deservedly won an honorable second place. I always proudly mention my cooperation with the foreign creative industry at all my exhibitions and speeches. For me, this is the fruit of my many years of labor and the result of large-scale, coordinated work by the organizers of the Golden Time Talent competition, who open doors to the world arena for artists.
The past year became incredibly intense and fruitful for me and my studio: in March my big solo exhibition took place, followed by landmark exhibitions of my students.
What other new projects, collaboration offers, or important events have occurred in your career over the past year thanks to your active position in the international art community?
Besides pure art and purely exhibition activities, my team and I directed a huge resource toward charity and social mission, which I consider a vital milestone of the past year. Our active position in the international community gave us confidence that art must go beyond gallery walls. We organized a series of warm meetings and masterclasses in nursing homes, and also conducted full-scale charitable exhibitions in the village of Shahan, making them absolutely accessible to local residents who rarely have the opportunity to touch high art.
A special place in my heart is held by the New Year tradition, which acquired an even larger scale this year: I personally, dressed as Santa Claus (Ded Moroz), deliver gifts to children with disabilities who, due to health reasons, cannot attend public celebrations. We also conducted creative intensives in orphanages. All these projects are the result of us being noticed as socially responsible creators. I am deeply convinced that such good deeds are vital for an artist so as not to grow cold-hearted. As a wise elderly woman in a nursing home once told me: “Kindness is the only thing that remains in our memory forever.” This philosophy became the foundation of all my new projects and collaborations.
You are a recognized artist and educator. Which awards or nominations in the past year do you consider most important, and how have they reflected on your status in the art world?
Undoubtedly, the key moment was my confirmation as an official jury member of the Golden Time Talent international system. This is not just a status or a nice line in a biography — it is recognition of my professional expert level on the world stage. When you evaluate thousands of works from all over the world, your own gaze becomes sharper, and your status in the eyes of colleagues and students becomes undeniable. This trust from the Global Talent Confederation of Great Britain confirmed that my method and my vision of painting are relevant in an international context.
This status directly reflected on my pedagogical activity. Students see that their mentor is a person whose opinion carries weight in London, Paris, or New York. This raises the bar of responsibility: I can no longer simply teach “as I feel”, I pass on world-class standards. The most important “award” I consider to be the successes of my students — when my student Sofia Tuleubayeva takes silver at an international festival in Astana, it confirms my status as a teacher more effectively than any diplomas. Every such achievement strengthens my authority in the art world as a master capable not only of creating himself, but also of lighting new stars.
How do you feel about the rapid development of technologies and AI in visual arts? Do you see a place for artificial intelligence in the work of a versatile artist, or do you prefer to preserve traditional methods and materials?
I view the rapid development of technology and AI with great interest and purely positively. I believe that a versatile artist should not close themselves off from progress in an “ivory tower.” For me, AI is a magnificent digital apprentice, a tool for instant visualization of the boldest ideas. In complex genres like fantasy, AI helps to quickly sketch a compositional “skeleton,” play with lighting, or find an unusual angle, which would take weeks in traditional sketching. This allows saving resources: there is no need to sew expensive costumes or torment models for hours for the sake of one sketch.
However, it is important to understand the boundary: AI creates a visual row, but it does not create Art. It can offer a “skeleton,” but the “flesh,” skin, and, most importantly, the soul are breathed into the picture only by a human being. The choice of material — be it textured oil, velvety charcoal, or transparent watercolor — and every living, vibrating stroke of the master remain the prerogative of human genius. I do not see a threat in technologies; I see powerful support in them that frees the artist from routine, allowing them to focus on meanings and feelings. We must cooperate with progress, using it as a springboard for our own imagination.
You teach painting to children and adults. What inspires you in communicating with young artists, and how do you cope with the main "difficulty" — their self-criticism and fear of showing their potential to the world?
In communicating with children, I am most inspired by their pristine sincerity and lack of templates. They are my teachers in terms of courage. In my pedagogy, I focus on fostering dedication and respect for one’s own time. The main difficulty is indeed the fear of failure and painful self-criticism. When a child in a fit of frustration wants to tear up a drawing, I always stop them and explain: “In this paper are hours of your life, a piece of your soul. Destroying it means showing disrespect to yourself.” I teach them that any mistake is merely a step toward mastery.
I try to build trusting, almost friendly relationships with students. They know they can confide their secrets to me, and I will never betray them. This psychological safety is the key to unlocking potential. I also conduct serious work against “star fever”: I teach children that talent is a responsibility, and even the loudest success does not give the right to look down on others. Seeing a child stop being afraid of a “blank canvas” and start proudly showing their works to the world is my main professional victory and an endless source of inspiration.
You see yourself in the art world in 5–10 years as a respected person whose works command admiration. What main steps, ambitious projects, and directions in painting or teaching do you plan to undertake to achieve this goal?
My plans for the next decade are extremely specific and large-scale. The main goal is to create my own named school of arts and my own art gallery. It should be a space of a new type, where the classic academic school will be harmoniously supplemented by modern technologies and psychological support. I plan to develop a unique teaching methodology that will help talents not just draw, but also find their place in the international art market.
One of the key directions will be promoting my students onto the world stage. I want my gallery to become a “social elevator” for gifted people, where they can not only exhibit but also successfully sell their works, gaining financial independence. In terms of personal creativity, I plan a series of large-scale exhibitions in major cultural capitals of the world to consolidate my status as a master of fantasy portraiture. I am moving toward making my name associated in 10 years with quality, magic, and selfless help to young talents. My goal is to leave behind not only canvases, but a whole generation of strong, independent artists.
Your goal is to create your own named school and gallery. If you were to imagine this space right now: what should it be like so that a person walking in off the street instantly feels safe from criticism and experiences that very "magic of creativity"? Will AI technologies, which you mentioned, be used there as interactive assistants for visitors?
If I were to imagine this space right now, it should be a territory of absolute psychological comfort and creative freedom. From the very threshold, a person should enter an atmosphere where there is no word for “incorrect.” My goal is to create a place where people will receive not only technical knowledge about oil or academic drawing, but also powerful emotional support. Creativity is a very delicate, almost invisible thread between our everyday reality and the world of magic, and walking along this edge requires extreme care. Any harsh criticism at the initial stage can break this thread forever. Therefore, in my school, the emphasis will be placed on finding the individual style of each student, on protecting their unique vision from any stereotypes.
As for technology, I see AI as a full-fledged interactive assistant and inspirer. Imagine: in the gallery or classroom stands an AI station where a person who lacks visual experience or imagination for a complex fantasy idea can quickly sketch a concept in dialogue with the program. This will help visualize composition, estimate lighting, or try an unusual color combination. AI will become a kind of digital apprentice that removes the fear of the “white sheet” and helps transition faster to the main thing — to live work with material on canvas. It will be a modern laboratory where the classic school of painting meets the technologies of the future to serve one common goal: revealing human potential without fear or doubt.
You have often faced criticism, but learned to use it for development. What main piece of advice, based on your personal experience, would you give to young artists so they do not back down from their goals and believe in themselves?
In my life and creative career, there was a lot of criticism, sometimes quite harsh and unfair. But I learned to use it not as a cause for despondency, but as a powerful, high-octane fuel for my development. I understood one important thing: the more people try to criticize you, the more they are actually interested in you — this is an integral aspect of success and publicity. If they talk about you, it means you touched them to the quick.
My main, fundamental advice to all young artists: never, under any circumstances, back down from your goals and sacredly believe in yourself.
Criticism should not wound your heart; it should temper your will. You need to have that very creative audacity inside you to decisively break down the walls of obstacles and stereotypes that separate you from your cherished goal. Be morally strong, practice every single day, hone your mastery, and do not be afraid to show your worlds to those around you. Remember: your work is a part of your soul and your time; value it above anyone else’s opinion. When you reach your result without turning back or breaking at a difficult moment, you will feel that true happiness which will become your highest reward. That exact moment will signify your final maturation as a strong and independent creative personality.
You are actively engaged in charity. How does your philosophy of "artist's audacity" help in these social initiatives? Do you believe that art is capable not only of decorating walls, but of being a real force capable of "breaking through walls" of indifference in society?
