Born in 1962 in Salsk, Russia
Lives and works in Moscow, Russia.
He has had his pieces in solo exhibits since 1991 and also in group exhibits since 1993.
Koshlyakov is a large scale tempera painter, who layers up her backgrounds to work on top of, creating paintings of monumental buildings like Notre Dame. His work appears to focus upon the blending of tones so that his best viewed from a distance.
High-rise on Raushskaya Embankment (2006)
Tempera on cardboard
285 x 280 cm
I find the way that the reflections are blurred show that the observers perception of the building is distorted or how their eyes aren't just receivers but also projectors showing us what we want to see but not always what is in front of us. the layering of the cardboard allowed for it to look almost like the lines of the building are shifting and warping. I find that the contrast from black to white allows emphasis on the contours of the structure and allows for the piece to appear three-dimensional. I find the perspective of this piece allows for the view of someone being on the surface of the water, it gives the effect of the building appearing more impacting and to have a stronger effect upon the observer and emphasise the form of the piece. I find the streaks behind the building appear like clouds on a overcast day and allows for the building to appear more vividly through the use of black and white marks.
The way in which the persons reflection is almost missing could be seen as that they have lost their identity in this place and that they are striving to find it again. This could also be a visualisation of Koshlyakov's personal mental state manifesting as a small part of his work allowing for an impression that he isn't quite sure where he is at currently.
Other pieces of Koshlyakov's include:
Grand Opera, Paris (1995)
Tempera on cardboard
345 x 487 cm
Paris, Notre Dame (2008)
Acrylic on canvas
200 x 400 cm
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