Philosophy

An Artist
Inspired by Nature

Philosophy

"Around the imprint, an idea begins to take shape, emotions and words emerge. They demand specific forms and corresponding colors. Alongside the conveyed mood, thoughts flow through my mind—I write them down in calligraphic characters".

For nearly twenty years after finishing art school, I was engaged in academic research and did not paint at all. Everything changed when I moved to sub-tropical Sochi on Black Sea. I was especially inspired by the Chinese painting workshops at the "White Cloud" studio led by Nikolai Mishukov. Suddenly, vibrant colors and the simplicity of traditional Chinese brushwork burst into my life. I was captivated by the minimalistic style—as if all my complex images had been simplified, and life itself had become simpler, in the best sense of the word.

Moreover, Sochi is a home to many plants traditionally depicted in Chinese painting— plants, one would never see in the central Russia. The local flora, the Sun, and the sea have also become undeniable sources of inspiration.

My work usually begins with an imprint of a fish or a plant. Around the imprint, an idea starts to develop, emotions and words arise. They require specific forms and colors. Alongside the mood I wish to convey, thoughts flow in my mind, and I write them down using calligraphic characters.

I am deeply inspired by sacred geometry. For a long time, I studied traditional ornamental patterns. These geometric forms, filled with profound meaning and ideal beauty, project themselves onto the world around me. They are reflected in many natural geometric structures—like the Fibonacci sequence in sunflowers, roses, and seashells. It is mesmerizing, as if lending a sacred significance to all of life. That is why I imprint a cross-section of a tree, a leaf, or a flower—it feels like a seal of the divine order upon my paper. Around this fragment of nature, my story unfolds—the result of my perception of life.

About Seals

Komiya—A Little Palace...

...The son of the host was actively involved in public life and brought several indigo-colored costumes with white wave patterns for the guests. Hanging lanterns bore three kanji characters—En-jaku-chō (The District of Young Monkeys). The first two characters were also inscribed on all the participants; costumes.

The o-mikoshi, a small black shrine, was lavishly decorated. Golden phoenixes perched on its roof, facing the four cardinal directions. Bells hung from silk cords, and golden monkeys seemed to climb across the shrine’s surface. Despite its ornate appearance, the mikoshi did not seem heavy. It rested on thick wooden poles beneath a purple canopy, waiting for the moment when dozens of strong hands would lift it up. Then, to the beat of drums and the cries of hei-hei, it would be carried through the streets of the district.

People believed that the deity residing within this shrine-palace would grant the wishes and hopes of those who carried it. And the faces of the people were so beautiful on that day!

The day before, I had purchased my personal seal hanko, choosing the first syllable of my surname. From among dozens of options, I selected the combination Komiya—"Little Palace". The coincidence between the meaning of the characters on my seal and the event of carrying the shrine seemed so remarkable to me that I grew even more fond of this seal. Since then, I have used this seal as my own.

KOMIYA

The aesthetics of East Asia have been present in my life since childhood. I walked past Japanese buildings on my way to art school, grew up with Korean cuisine, earned a degree in the history and culture of Japan, Korea, and China, studied Japanese and Chinese languages, and traveled extensively throughout the region. Additionally, my academic work was closely tied to the study of Christianity in Asia. So, my journey into Chinese painting is not a random turn but a natural outcome of my deep connection with Asian culture.

Biography

KOMIYA was born in 1976 on Sakhalin Island and currently lives in Sochi. An artist, she focuses on a contemporary interpretation of traditional Chinese painting. Her passion for art began in her youth when she attended art school.
In 2000, she graduated from Novosibirsk State University with a degree in the History and Culture of East Asian Countries. Since then, her interests have remained entirely focused on Asian studies.
From 2002, she worked as a researcher at the Institute of Archaeology and Ethnography of the Siberian Branch of the Russian Academy of Sciences, published academic articles and monographs on Oriental studies, sociology of religion, and ethnography. In 2006, she received PhD in cultural anthropology Since 2011, her book Observing the Japanese, has been widely available, published by Ripol-Classic. In 2012, her documentary film Radonitsa won 3rd place at the Moscow International Festival of Visual Anthropology "Camera as Mediator".
In the 2020s, KOMIYA returned to art. The turning point was involvement in "White Cloud" Chinese Painting Studio under Nikolai Mishukov. Since 2024, she has been studying Art Management at the Moscow School of Contemporary Art.
KOMIYA is a member of Eurasian Art Union and Association of Chinese painting and Calligraphy.
Her greatest artistic interests lie in ink and mineral pigments, the use of gold foil, and the gyotaku technique.

Contacts

Email: Jkovalch2000@yahoo.com

Julia Kovalchuk