Master Victor (Viktor Markelov) is a painter, educator, and founder of the Hopeinen Sivellin (“Silver Brush”) Gallery in Helsinki, Finland. He received a classical academic art education in Saint Petersburg under the mentorship of the renowned painter Vyacheslav Zagonek. His artistic practice is rooted in the traditions of the academic school, which he continues to develop through portrait, landscape, and monumental painting.
His works have been exhibited at international exhibitions and art auctions across Europe, Australia, and Russia and are held in private collections. Throughout his career, he has collaborated with museums, cultural institutions, restaurants, public art initiatives, and educational programs, while mentoring a new generation of artists through many years of teaching in Finland.
In 2025, Master Victor began collaborating with Marina Orlova, Creative Director of Hopeinen Sivellin Gallery, his personal assistant, and artistic representative. Their creative partnership marked the beginning of a new chapter in the artist’s development. His work gained greater artistic freedom, richer color, renewed energy, and stronger emotional expression. Their shared travels, interest in contemporary art, and ongoing creative dialogue contributed to the evolution of his artistic language and the further development of his philosophy of Deep Positivism. The artist himself describes this period as a time of profound personal and creative renewal.
Master Victor’s artistic credo is founded upon the principles of Deep Positivism, a philosophy dedicated to revealing the authentic beauty and life-affirming energy of the world.
Selected Students
Emilio Mäkipää — an internationally recognized artist based in Helsinki, Finland.
Daniel Meerson — studying Computer Animation in Denmark.
Sabina — studying Animation Drawing in Wales.
Irina Rastorguyeva — graduate of Saint Petersburg University, Department of Painting.
Darja Kinner — currently studying at an art-focused secondary school.
If you plan to use this in the AWAKENING catalogue, I would also recommend a light curatorial edit to make the English sound even more museum-level and consistent with the style of international biennials while preserving Master Victor’s voice.
ТВОРЧЕСКОЕ ЗАЯВЛЕНИЕ
MAIN THEME
The central theme of my artistic practice is the relationship between human beings and the world around them. Every day I observe, study, and reinterpret the environment I inhabit, transforming my impressions into sketches and paintings through color, light, and imagery.
Fantasy also occupies an important place in my work. Over many years I have studied philosophy, and I strive to express philosophical ideas through the language of art. My works invite viewers into reflection and an inner dialogue.
RESEARCH INTEREST
I am interested in the influence of art on people and on the world around them.
Art is often perceived merely as entertainment, yet I believe this is a profound misconception. Art is a powerful force capable of transforming individuals, influencing society, and reshaping the world we live in.
MEDIA
My artistic practice draws inspiration from a variety of sources:
Direct observation from life
Fantasy and imagination
Photography and video
Archival and historical materials
Contemporary visual culture and social media
WORKING METHOD
Each artwork presents its own artistic challenge.
When creating imaginative compositions, I often experience a state of creative flow, as though there is an invisible channel through which images and ideas emerge. The process feels natural and organic, as if the brush guides itself.
When painting portraits, I seek more than physical resemblance. My goal is to reveal the inner world of the subject, conveying personality, emotional depth, and individuality.
When working from nature, I strive to express the purity and beauty of the natural world. Even in the simplest subjects, I aim to emphasize light, vitality, and harmony. This approach is directly connected to my artistic philosophy of Deep Positivism.
THE VIEWER’S EXPERIENCE
In The Tower of Babel, viewers encounter a complex visual universe where medieval imagery and biblical narratives coexist with rock culture and modern technology. This layered composition encourages reflection on a world immersed in materialism while still preserving hope for spiritual transformation.
In The Car and the Tree, I explore the philosophical tension between the achievements of human civilization and the enduring power of nature. The painting raises questions about the balance between technological progress, ecological responsibility, and the future of humanity.
More broadly, my works reveal themselves gradually. The longer viewers engage with them, the more meanings, symbols, and interpretations they discover.
CONTEMPORARY CONTEXT
Through my art, I strive to make the world a better place.
I consciously avoid creating works dominated by despair, aggression, or hopelessness. Modern life already places people under constant pressure and uncertainty. My art offers another perspective—one grounded in beauty, hope, vitality, and faith in the transformative power of creativity.
I believe that art should not only reflect reality but also participate in shaping it.
DEEP POSITIVISM
Deep Positivism is the philosophical foundation of my artistic practice.
I believe that art—regardless of style or movement—should inspire people to create, to love, and to recognize the value of life in all its forms.
For me, painting is not a reflection of crisis and destruction, but a space for inner renewal, creativity, and life-affirming energy.
“I believe that painting should reveal beauty and the vitality of life. This is what I call Deep Positivism. Through my paintings, I strive to inspire people, remind them of the transformative power of art, and help them see the world as a place of love, creativity, and endless possibilities.”
