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Pejman Ebadi

1982, Tehran, Iran. Living in France since 1984. Currently residing in Nice, Riviera, where I have a studio. Spend half the year in the Far-East. Painting is a life long passion for me. I had a painting brush in my hand before I could read or write. Painting is the most natural way for me to express myself; it is something very much innate in me. I don’t need to be in a special mood or state of mind to be inspired, in order to create. I have lacked a lot of things but have never had to look for inspiration. I don’t even know really what it means to be inspired; whenever I feel like it, and that is quite often, I just get up and got to the studio to work. The feeling of sterility is something unknown to me. Creating art works is the closest thing I have to be in my natural state. Painting transposes me immediately to a world of great intimacy, familiarity; it is like returning to my element, a kind of returning home. My paintings are an incessant exploration of my subconscious and all things mysterious and unknown to me within and without. Painting allows me to fathom the depths of my psyche, it is also a place of healing for me, but it is also here that I come close to a meditative state; by this I mean a state of total absorption, where I am totally integrated with the process unfolding before me. Creating in this sense means revealing and encountering the essence of my own being, my being and in a larger sense, all beings. I never know beforehand what I am going to paint. There are no plans. It’s in a spontaneous movement that I project myself onto the canvas without prior visualization. It’s the sheer force of the blank surface that captivates and captures me. As the work progresses forms and colours begin to take shape as if slowly emerging from a primordial chaos. Slowly compositions and forms begin to unfold; it’s the force of the unknown, the energy flow of the subconscious that manifesting itself through the creative act guides me through the work. It’s as if, mesmerized by the invisible, its echoes guide my steps. Here we are talking of something very different to an installation; it’s rather an un-installation. I don’t oppose the visceral element to the cerebral one, its just that in my work it’s the irruption of the former that gives the impetus to the elaboration of the later; there is sure a thinking process involved in the act of creating but it not one born out of conceptual reasoning and ideations. It’s always difficult for me to express my paintings through words; for me creating comes closer to something that I would describe as a shamanistic voyage. Words fail to capture the essence of the world of spirits. The same as with my painting; its language belongs to another world, rather, to the other world; the world of the unknown and the unseen. In a deeper sense, I paint to liberate my soul.

Pejman Ebadi

The personal online exhibition ‘Stargates To Eternity’ of paintings by Pejman Ebadi is held on the gallery website from 1st to 31st January 2020. Visit the exhibition at

What Good Are Art Dealers and Gallery Owners?
Alan Bamberger

Nobody likes art dealers or galleries. Artists don’t like them because they keep half the price of every piece of art they sell. People who buy art don’t like them because they charge top dollar. Even dealers don’t like dealers, but that’s another article. So do art gallery owners and dealers do anything other than inject themselves into art business transactions, jack prices, take cuts, and extract cash? Let’s explore.

The artist’s point of view:

“I’m an artist,” you say. “I spend my life making art, slaving away, compelled to express myself for all the world to see and experience. The results of my creative endeavors zap practically every last ounce of my strength; so here I am surrounded by the products of my inspirations and ready to make money. But no. Something stands in my way and its name is art dealer. I don’t need you and your gallery to take half of every dollar my life’s calling entitles me to. I’m going to sell my own art, thank you. I’ll sell it on Instagram, from my website, and out of my studio, and I’ll keep 100% of every sale I make.”

Of course you don’t need them. Just like galleries, you’ve got the perfect space to show your art, position and display it for maximum impact, and make it look its absolute best, right? It’s a great location, convenient, with plenty of foot traffic and parking, and it’s near other retail establishments where people who to buy art tend to congregate, dine out, entertain themselves or shop for goods and services. Your space is austere, expansive, well appointed, professionally designed and lit, and when you show your art there it looks about as good as it’s ever going to look, outside of maybe The Louvre.

Just like galleries, you have an established reputation among gallery owners, collectors, curators, critics, and other art world professionals. People respect your experience, judgment, knowledge, and ability to recognize quality in art. You receive regular invitations to art-related functions and social events where you come into contact with collectors, professionals, and others with standing and influence in the art community.

Just like galleries, you have a significant online following, not just lookers but buyers, and not just buyers but repeat regular buyers. You know how to engage with anyone who contacts you, and can organize, speak about, write about, and present your art in ways collectors and other buyers can appreciate. You have no problem posting about your art and creating compelling narratives around it that people will appreciate. You can speak about your art in the context of the bigger picture, and about what makes it significant and worth owning.

Just like galleries, you’re comfortable around people who buy art; you’re well connected, you socialize with collectors, and participate in activities and belong to groups and organizations that collectors belong to. You understand how art buyers think, how much they know about art, and how to talk to them about art in language they can understand and identify with. You are an interpreter capable of taking art that may involve complex cognitive concepts, raw emotion or sensitive subject matters, and presenting it in ways that make it accessible to those who might otherwise shy away. You can also make it appealing to people in terms of the benefits of ownership.

Just like galleries, you’re at ease talking about art and money; you know how to price your art sensibly and within the context of its market, and can explain your prices to anyone who asks in ways they can understand and appreciate. You can convince them that they’re spending their money wisely. You can sense when someone is on the verge of purchase, ready to buy, and you know exactly what to say and when to say it in order to close the deal and complete the sale. As for the plethora of parasites, blabbermouths, energy drains, poseurs, time wasters, know it alls, and deadbeats who endlessly hover around the art scene– you can see them coming and blow them off with ease.

Just like gallery owners, you are capable of evaluating all kinds of art by all kinds of artists all the time. You continually talk about art, interact with artists, study and learn about art, read about art, assess what qualities make particular works of art good or better or best, figure out what pieces to show and how to effectively arrange and display them. You carefully examine, analyze and assess every detail of every piece of your art before it leaves your studio just like gallery owners do with every piece of art they show at their galleries. You make continual art-to-art and artist-to-artist comparisons in your interactions with potential buyers, and use your extensive knowledge and overview of the local, regional, national, international or whatever art realms or markets you travel in to assure them that your art not only satisfies your high personal standards, but is also worth their attention. Not only can you defend your art to critics and detractors, but you can also discuss its merits ways that win them over and advance your career.

Just like galleries, you believe in your art to such an extent that you spend thousands or tens of thousands, sometimes hundreds of thousands of dollars per month in rent, overhead, advertising, hosting events, art fair participation, and appearing at other public functions to show that your vision is a valid one. That vision attracts a range of contacts and fans from throughout the art community, and energizes them to such an extent that they reward you financially– with profit– allowing you to continue to put forth what you believe to be among the most worthwhile works of art being produced today. Art critics, museum and institutional curators, influential collectors, and others in positions of power in the art world talk, write, gossip, and otherwise opine on your art in every way imaginable because you know how to keep it in the ongoing conversation. People who trash talk, hate, sabotage, or otherwise badmouth your work don’t bother you because you know how to counter them and how to prevail against anyone who tries to take you down.

Art galleries and dealers have nothing on you, do they now?

“So OK,” you concede. “Maybe they do perform a service and deserve commissions for what they sell… like say fifteen percent.”


The collector’s point of view:

“I buy art all the time and none of it comes from dealers,” you say. “I don’t waste my hard-earned cash contributing to some gallery’s extravagances. Screw those oversized, high-ceilinged, space-wasting progressions of near empty rooms in expensive parts of town. I can find all the art I want online anyway. I know what I like, where to find it, what to pay, and I don’t need any art dealer to tell me any different.”

Of course you don’t. Just like galleries, you live and breathe art. You spend eight, ten, twelve hours a day involved in art-related activities. You constantly monitor relevant art websites and subscribe to every trade publication that has anything to do with the art you buy, sell, or collect. In order to stay on top of the market, you continually see museum shows, stay on top of the latest news, read books and catalogues and trade publications, and regularly speak with dealers, collectors and other trade professionals about the art and artists you specialize in.

Just like galleries, you’ve looked at all kinds of art by all kinds of artists for years and years– decades in fact– and have seen tens of thousands of pieces, perhaps hundreds of thousands, perhaps more. As a result, you’ve cultivated and refined your eye not only to the point where you can spot quality, but also potential shortcomings or problems. You can make fine-line distinctions about art as well as any art business professional out there. You’ve discussed, inspected, dissected, critiqued, and evaluated at least thousands of works of art with people in the know and can accurately assess the significance of whatever it is you’re looking at.

Just like galleries, you understand the art business from retail, wholesale, and secondary market perspectives; you follow plenty of galleries and auction houses, not only locally, but nationally and internationally as well. You know who’s showing what, and why, and how much they’re selling it for. You can spot quality art at fair prices, and know the difference between a genuine bargain and third-rate crap, not to mention fakes, forgeries, scams and cons. When you see art you like, you know what questions to ask, what to look for, and how to inspect and evaluate its every detail. You know how to research and evaluate prices, and know what makes art worthy of the attention it gets, the prices it sells for, and publicity it gets.

Just like galleries, you can spot an artist with talent and potential before just about anyone else; you know when art breaks new ground. You know the difference between a leader and a follower, between “here today; gone tomorrow” and “here to stay.” Your knowledge goes well beyond what the art looks like or who signed it. You know how to evaluate its materials and structural integrity, and are able to tell from a variety of standpoints how it’ll hold up over time. You can look at dozens or even hundreds of works of art by any given artist, separate the best from the rest, and focus only on those that represent the true range of the artist’s skills and abilities.

“Exactly,” you say. “Gallery junkies are a bunch of suckers, shelling out fat cash on art I can buy for a song on eBay. Just last week, I nailed a Jackson Pollock splatter painting that the seller recently discovered in the back room of a pawnshop, stored there since the sixties. I stole it for a measly seventeen grand right out from under the noses of eBay’s 200 million users. As soon as I get it authenticated, it’ll be worth a fortune.”

Robert Bissell ‘This Universe of Life’

Artist Statement

Mono No Aware

The environment and humans relationship to it has always been a fundamental aspect of my work and in recent years I have found myself reacting even more to the vast changes our natural world is experiencing. Looking back over the work displayed here I am aware that a narrative was being created as I painted. Beginning with Inspiration (the first painting I did in this series), the figure looks up with wonder at the waterfall, a source of creativity and imagination. In Supernova, our protagonist pays homage to the universal forces that sustain us. In The Race our elephants rejoice and play in the elements that support them and In Mono No Aware, the figure contemplates a gentle falling snow by a frozen lake as it’s inhabitants swim below. How more perfect can this world be that surpasses anything humans can create? In The Mountain, our figure faces a seemingly great challenge with an overwhelming oncoming tide and in Meeting on The Ice we are presented with an enigmatic scene as we imagine polar bears travelling south in search of new habitats. Finally, the fragility of animal and human existence is presented boldly in Titan as this majestic black rhino challenges us to contemplate our own influence over the natural world.

Robert Bissell

Animals are good for thinking
Philosopher Claude Levi-Strauss

From the Invitation to Robert Bissell Exhibition in October 2019 at Chloe Gallery, San Francisco, USA

Meeting On The Ice

Robert Bissell is a painter of naturalism and fantasy, combined and influenced by Romanticism. While his works touch upon wonderment, they offer a convincing view into a world without ‘civilization,’ wherein the viewer is mesmerized by the power of light and the essence of natural law – yet tinged by fancy. This genre of art is sometimes called Magical Realism.

Early tribal cultures believed the natural world to be the bridge connecting earth and spirit. Animals were regarded as powerful spiritual beings that could connect humans to unseen realms, the environment, and each other. Along these lines, Robert Bissell creates works that transport us into a completely different atmosphere than that of modern daily life, inviting us to learn more about ourselves and to contemplate our origins in the natural world.

In his animal paintings, the world of animals is a mirror for human existence, self-definition, and self-reflection. Yet, these aren’t mere children’s tales. “Bissell’s work disarms by narrating vitally grown-up and urgent allegories in the guise of child-like humor,” counters William Zimmer, art critic for The New York Times. 

Bissell’s paintings explore the idea that animals have metaphysical importance to our own spiritual well-being. Lured into a realm absent of humans, Bissell’s animal characters ask that we consider our own condition and place in nature. While whimsical at first glance, there is underlying tension and precariousness beneath the images. Disarmed, we objectively consider ourselves without familiar references. 

“His animal work is full of charged meaning and lore, and it’s touched by surrealism”, says Suzanne Bellah, Director of the Carnegie Art Museum. “Influenced by the surreal legacy of Magritte, he mixes scales and uses gigantism with a variety of textures and subtle color palettes.” Indeed, Bissell keys his palette to the great landscape masters of European art Claude Lorrain and Corot (France) and Thomas Gainsborough (England).

Imaginary Realist Robert Bissell creates a completely different atmosphere from our daily experience, inviting us to learn more about ourselves. In his paintings the world of animals is a mirror for human existence, self-definition and reflection.  These are not mere children’s tales – quite the contrary.  Bissell’s work causes us to reflect on the environment, life, death, renewal and the stages of transition – departing from the safety of family, and making our way in the world.

Bissell grew up on a farm in Somerset, England, where animals, Celtic legends and panoramic landscapes were part of his daily life. His keen interest in visuals began at an early age, documenting life around him through photographs. He would spend hours stalking wildlife on the moors close to his house to see how close he could get before they would sense his presence. But ultimately, country life was not for him and Bissell headed for the city to study art.

After earning his bachelor’s degree at the Manchester College of Arts and Technology, Bissell moved to London for post-graduate work in fine art photography at the Royal College of Art. 

After completing his studies, Bissell spent four years traveling the world, working on cruise ships to pay his way. In 1982, after settling in San Francisco, one of his favorite ports of call he began working for The Sharper Image as photographer of its high tech merchandise.  For the next decade he moved up the corporate ladder, during what is arguably the companies most exciting time, to become head of the creative and merchandising divisions. In 1992, he left the company to start his own retail catalog company in Portland, Oregon, which was eventually sold to Readers Digest.

In 1995 he began to wonder if the long-term implications of the industry he was engaged in really fit his world-view. The catalogs he was producing wasted a great deal of paper with very little return. Trees destroyed for paper, most of which was just thrown away. The corporate world had also taken its toll.  Bissell missed art.  He decided it was time to explore the possibilities of telling people about nature and his view of it though painting. He had studied drawing in college and believed that it was simply a matter of wanting it – and teaching himself to paint.

“I had forgotten why I wanted to be an artist in the first place,” he said. “I wanted to get that back, and I am glad I did before it was too late.”

Pagans and Celtic Christians believed the natural world was the bridge that connected earth and spirit, with animals acting as spiritual intermediaries. Now, most people live in cities and suburbs, separated from that world. “Animals used to be involved with humans as messengers with magical functions,” he says. “Now they are our slaves for consumption and entertainment. I wanted to restore their role and give them a new voice.”

Since then he has devoted all this time to painting. He regularly exhibits in museums and galleries across the United States and Europe. Bissell hopes his paintings appeal to the intellectual child in us, reminding us of the mythic and universal human values in the tradition of the great heroic-quest stories. His work encourages us to reflect on nature, the roads we travel, and the choices we make along the way. His story encourages us follow our passions and have the courage to do what is meaningful to us – whatever that might be.

The personal online exhibition ‘This Universe Of Life’ of paintings by Robert Bissell is held on the gallery website from 1st to 31st December 2019. Visit the exhibition at

Roger Aslin ‘The City Revealed’

Artist Statement


My practice explores two key areas – the figure and the urban environment – and is influenced by my continuing interest in film and television.

My key focus now, through the medium of painting and photography, is how people interact with the contemporary environment. I show urban life in dramatic colour and shade by using a highly contrasting palette to additionally emphasise shape and form.

My historical reference is the Flaneur, a French term for an observer of city life. Edouard Manet was considered to be the quintessential Flaneur. His work ‘A Bar at the Folies Bergere, 1882′, together with works by Gustav Caillebotte, ‘Paris Street, Rainy Day, 1877’ (Art Institute of Chicago) and ‘Le Pont de l’Europe 1876’,(Musee du Petit Palais, Geneva) are acknowledged examples from this period.

The Flaneur is the ultimate urban explorer, made the object of scholarly interest in the 20th century by Walter Benjamin, based on the work of Baudelaire. The Flaneur has become an important symbol for scholars, artists and writers, with Honore de Balzac describing flanerie as ‘the gastronomy of the eye’.

My work, as a modern day flaneur, takes me into the city where I take images on camera or phone, later to be refined and honed digitally in the studio before commencing painting on paper, board or canvas.

As Susan Sontag stated in ‘On Photography’ ‘The photographer is an armed version of the solitary walker….cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes. Adept of the joys of watching, connoisseur of empathy, the flaneur finds the world ‘picturesque’.

My solo show ‘Urban Narratives’ at the Hay Hill Gallery, London, further developed these themes, showing many works from my urban series.

I also have a history of showing in various group exhibitions including the Royal Watercolour Society, the Lynn Painter-Stainers Prize and the ING Discerning Eye Exhibition at the Mall Galleries. My work has also been shown in the corporate world including Baker Tilly and Clyde & Co.

During 2018 I was invited by the Adam Gallery, Bath to show a number of original works as one of their contemporary artists.

Roger Aslin

The personal online exhibition ‘The City Revealed’ of paintings by Roger Aslin is held on the gallery website from 1st to 30th November 2019. Visit the exhibition at

Helen Warner

Helen Warner is a new gallery artist.


The Critique

Art history is multifaceted by nature and in the study of art we learn to categorise art and artists, to group and gather like minds and forms of expression in an attempt to better understand what we are challenged with. Helen Warner, however, is not an artist that can be easily defined or included within the scope of a single artistic movement. We are confronted with a juxtaposition of powerful emotion, embraced by the very delicate and feminine touch of the artist’s intrinsic nature.

In essence, we encounter a window that is also a mysterious mirror. The viewer is able to see the artist’s heart in motion, while meandering into an endless reflection of their own souls. It is true that inspiration for art can have many roots, but it is apparent that Warner’s paintings are a product of love, joy and spontaneity. The viewer is touched in a unique way leading towards the belief that Warner’s artworks are not to be merely observed and evaluated, rather their examination must be based on the transmission of feeling.

Albeit, the intellectual study behind the compositions is highly relevant. We see an intense observation of form that in philosophy is reminiscent of Plato, forms that we are able to see but to which we do not have access. In fact, in the academic analysis of Helen’s work, we re-live the philosophical experiment in which the forms come to life in our minds but always remain out of reach.

From an artistic perspective, one can of course see a strong influence from the 20th Century. In fact, Helen Warner is an inspiring manifestation of British contemporary art and an explicit celebration of the artistic geniuses of the modern era. We see De Chirico’s metaphysics in some works, touches of Kandinsky and elements of cubism in others. These artworks are characterised by powerful application of form and careful choice of tones, that with intensity and depth communicate strong emotions and accompany the viewer into a breathtaking world that exists halfway between the conscious and subconscious minds.

The result of Helen’s art is, however, a very personal and unique expression that is able to provoke thought while speaking to our inner personalities. Through these artworks we are able to travel into a world of dreams, unreal in substance but capable of inspiring deep emotions. A true artist to discover and a stimulating journey to undertake.

Timothy Warrington
European Confederation of Art Critics

About Timothy Warrington

Timothy Warrington was born in Birmingham in 1944 and is a critical writer and curator based in London.

Mr. Warrington’s career has taken him all around the world in the search for art to exhibit in London. He was part of the organisation that hosted the largest and most important exposition of Bulgarian art ever curated outside Bulgaria, showing 300 artists. The exhibition was hosted in collaboration with the Bulgarian Embassy in London and was inaugurated by the Bulgarian Ambassador Mr Stancoff.

The Slovenian Printmakers Exhibition was another reminder of the wonderful talent that Timothy brought to London, artists that are recognised and respected all around the world. “Italian Views” at the Lord Leighton Museum, curated by Timothy, was also a great success and a spotlight into contemporary Italian Art from institutions such as the Academy of Fine Art in Florence, Academy of Fiorino in Florence and The Academy of Fine Art in Rome.

Mr Warrington has curated numerous books and writes opinions and exhibition critiques in the UK and the USA. Notably, he was responsible for the main publication related to Brian Willsher’s Bronzes, an artist who taught at the Tate and was praised by Sir Henry Moore as an artistic genius.

Timothy’s critical writing is very sophisticated – he has the power to translate the artist’s thoughts to the viewer with extreme clarity and competence. He was a member of the jury of Chianciano International Art Award alongside people like Gerard Bruneau who started his career wih Andy Warhol.

To view the catalogue of paintings by Helen Warner visit please

Gemma Billington ‘An Dúchas (Homeland)’

An Duchas10_Number_14

by Niall Macmonagle, Art Critic

Ireland once home to eight million people, even today is a place of ghosts. Traces of those lives lost to famine and emigration can be seen still, especially in the West of Ireland. A stone wall, a gable end, lazy beds, potato drills, a wild rose bush, a flowering currant tree remind us that a family once lived here, that this now ruin was a place someone once called home.

In her poem ‘The Island. A Prospect’, Paula Meehan charts this country’s dark history as ‘bitter tales of landlords, emigration of plantation, rebellion, famine and ruin’ and Gemma Billington’s powerful new work, An Duchas, explores aspects of that complex, lonely past in images that evoke the concept of home within and against an Irish landscape.

An Duchas, meaning native place, also means a ‘a natural affinity, a kindred affection’ and here Billington conveys not only a deepening connection with her native place but a preoccupation with and love for the landscape she knows well. Her heart’s affections are felt in work of vibrant colours, in a strikingly new command of bold dramatic lines, in Billington’s assured structure and composition.

In those new paintings the house though an intrinsic part of the landscape does not dominate. We glimpse a roof, a gable wall against the abundant landscape. We imagine the lives lived, the world’s contained with those homes. In Sean Borodale’s memorable, atmospheric ‘Air House’ (a poem he subtitles ‘composite made during visits to an abandoned house in Mayo’) he writes of how

With no usable door
I had to climb in through a broken window
There were unopened letters, a bottle of holy water
the sacred heart disintegrating on its paper . . .

That yellow wooden chair is a ghost
and in the left drawer of the blue sideboard in the kitchen
that reel of crimson thread is a ghost.

Such imagined long-gone lives are also prompted by Billington’s new paintings. Her last exhibition captured the surging, storm-filled Atlantic. Here she has moved inland and brings back to life ghostly presences. Her focus is the domestic, as in domus, ‘home’, but it is the vibrant landscape too. Her palette contains dramatic reds, blues, greens; her perspective is such that the work draws one in. For the viewer it’s a deepening silent, nourishing experience.

Living in this landscape is celebrated and though time brings change and homes have fallen into ruin An Duchas invites us to remember the busyness of life, the dreams and hopes of people who once lived here.

In ‘The Only Story’ Julian Barnes asks is life beautiful but sad or sad but beautiful. It’s a question he borrowed from Frank O’Connor’s essay on Mozart. In this instance, in relation to Gemma Billington new show the answer is life is sad but beautiful. There’s no escaping sadness and, as these paintings testify, life contains its sorrows. Place for Billington contains the past, a past that has known inevitable disappointment and loss; the work convincingly acknowledges what is sad but ends on a beautiful note. For Gemma Billington, in the new body of work, the life is sad but beautiful.

She has found that sadness in the landscape she knows well, she knows those places where houses have been abandoned but she cherishes the lives once lived there and she celebrates the beauty of the natural landscapes, on-going vibrant abundant nature. But the enduring power of these paintings is in Billington’s outstanding skill in what are loving tributes to place, what place has meant and what place means to all the lives that ever lived and live there.

The personal online exhibition ‘An Duchas (Homeland)’ of paintings by Gemma Billington is held on the gallery website from 16th September to 31st October 2019. Visit the exhibition at

Don Quixote


Nikolai Silis. «Don Quixote With A Flower», 200 х 150 х 150 cm, copper, 2018

By Valentin Ryabov, gallery owner, art critic.

In the late 60s, Nikolai Silis began working on a new series of graphics. As a result, we got 14 pages of brilliant works dedicated to the famous hero of the Spanish writer Miguel de Cervantes, Don Quixote. The main creative goals for Silis were always works on the form, and Don Quixote felt just right for the plastic experiments. “I immediately imagined him all formed and twisted, made from thick sheets of metal” recalled the sculptor in his memoirs. (N. Silis, “Memoirs”, Academic Publishing Centre “Nauka”, Moscow, 2016, p.39.)

Gradually, the hero of the graphic series began to acquire real outlines, first in clay, then in gypsum and finally, in his already familiar copper form. Although later, on the creative path of the sculptor, this image received many incarnations. In particular, Silis has a smaller bronze version of Don Quixote. This version was created specifically for the Moscow International Film Festival, which was later awarded to director Yuri Norshtein when he received the Tarkovsky Award for the cartoon “The Hedgehog in the Fog” in 1989.

Don Quixote became the most distinguished character of the master.

The image of Don Quixote, embodied by Nikolai Silis, combines monumentality with intimacy.

He is largely out of the total number of his works, that usually gravitating toward generalization of forms, and yet, it is a veiled self-portrait of a master.

Particular attention of Silis to the plastic interpretations in sculpture made significant changes in the world of art and included him in the lines of greatest artists of the twentieth century: Auguste Roden, Antonio Giacometti, Henry Moore, Vadim Sidur, Tony Cregg. Don Quixote became the main work of the sculptor, in which he was able to express his moral and ethical ideals, as well as the genius of the artist-creator.


“I have a great news. The large sculpture by Nikolai Silis ‘Don Quixote With A Flower’ arrived to my gallery in Moscow. It is the best sample! It is the last life-time large ‘Don Quixote’ sculpture. It is a fourth edition of the sculpture made from the concrete model and it is the last one since the concrete model has been destroyed and there is no team which has the right and the sculptor’s trust to reproduce the model. Previously only one edition of the sculpture was made with a battle shield as the sculptor conceived it. This fourth addition was also made with a battle shield.” – Valentin Ryabov, gallery owner.

Contact Hay Hill Gallery ( if you are interested in this sculpture or other sculptures of this famous sculptor.