since childhood, my guest heard conversations about art, played with brushes and paints in her parents’ studio and dreamed of becoming an artist, but despite the trials, overcoming which... she found her

destiny. today my guest is a textile artist, natalya sukhoverkhova. natalya vladimirovna, good morning. good morning, good afternoon, and of course happy new year with carols, right? great time, of course, yes, great. natalya, you are a hereditary artist, your father is a painter vladimir sukhoverkhov, your mother is a portrait painter, galina mayevskaya. here. if you draw a picture of your childhood, what pictures come to mind first of all? well, firstly, of course, the artists with whom my father was friends, of course, then , you know, there was some kind of brotherhood then, they even took me as a little girl to demonstrations, of course everything, yes, but that goes without saying, then there were trips , trips out of town, trips to mushrooms, yes, in some kind of simple bus. but the artists, that means, were traveling

together, gathering, there were a lot of them in large groups, traveling, that means, to pick mushrooms, so then there were some, there was an obranka with the kaserets, which means that these were some conversations, naturally , about art, about everything, you know, so, i grew up in such an atmosphere, and of course, artists gathered at home for the holidays, so you had such a creative atmosphere , absolutely, absolutely, that is, i was brought up in this and as my mother says, well, now i myself... i don’t remember, well, that’s what i always had such knees, you know, almost mazuli on my knees, because i knelt down and drew all the time, i painted, painted, painted, i really loved to sculpt, yeah, i even honestly thought that maybe i would be a sculptor, maybe, well, some kind of small sculpture, so what prevented the implementation, what prevented it, it’s even possible, i could have been a ceramicist and sculptor, you see, i was a very sick child, i had a lot of inflammation after the war.

there was also a lot done in nabrosski, even what he did in the partisan response, he fought there, as it were, and was also an artist at the same time, he drew maps there constant advances of troops, by the way , all this is all preserved in the museum of the great patriotic war, it’s all there, but what did your father say about working on this picture, in general he doesn’t like to talk, and she didn’t like to talk about the war, sometimes, sometimes something broke through, because it was very , of course... it’s hard, so, and so he, of course, he wrote this picture, he wrote with all his soul, that is, you can say that there are specific characters and people, here this is what i think, this is the character who goes up, this is filipskikh , most likely, he probably made it from him, well , who led the flame detachment, well, your mother is no less legendary... an artist, she

continued to work until she was 100 years old, you know, this is generally very interesting history, she worked as a patriot, she did not join the union, she believed that she... well, this is happiness, you know how quickly to join the union, she would not yet have time, excuse me, to hatch, but for a rude word, she was already in the union, and before it was like it was very, well, it had to be very, very achieved, then, well, she she was a modest person and somehow thought that she , well, well, unworthily, had not matured, perhaps, to the union of artists, but she was a wonderful patrise, so it turned out that - my son had just been born, she helped and somehow she stopped working. probably for about 20 years she didn’t pick up a brush at all, in fact, suddenly, when she was already 84 years old, she declared and said: natasha, i really want to work, and we bought paints, and you know that she began to work very successfully , so much so, it was like the nineties,

i had almost no work, so, and my mother is here suddenly, you know, like some kind of dawn, here, here, literally until she was ninety, probably one year old, until she was 92, she was actively working, why? you chose precisely because of quality, and not, say, painting, the fact is that because of quality, i’m saying that that’s when you started to develop as a graphic artist, then as a monumentalist, and then as a sculptor, in fact, because i i weave everything with my hands, and in general it’s hard work, well, painting, i won’t say that it’s easy work, no, it also adds up, but painting, it’s still faster to do painting than quality, it takes me, for example, just to weave.

my father just kind of watched from the sidelines, well, he also taught at the institute , yes, and i studied there, well, i always gave myself very independently, the only thing that always stimulated me was that i should be worthy of this surname, i understand that the creative result was in the first place, and not just those words and that kind of reputation around you, only you know, i didn’t even have such a thing as a reputation, i... bitches at an exhibition at one, i usually go to kiosk, i’m looking at some of the national art museum in the kiosk, suddenly i see this book 500 masterpieces of the national art museum, well, of course it interested me, i ask, is there any applied art here at all, decorative applied art is there in this book, yes there is

, of course, i say, is it possible and i take it with trepidation, you see, no, really, it was such a simple discovery for me, i take it with such excitement and think, so as not to be disappointed, well, i flip through it, and suddenly i see your job, you know, of course, for me it was just like that, it’s just a gift , you know, this is my early work, i actually even joined the union, once upon a time, in order to join the union, you had to already be an established artist, fully developed, and not just just graduate from college, ready to take over.

watch in the program cities of belarus on the belarus 24 tv channel. talented and ambitious. a product that is made with your own hands keeps you warm. this is a product that is special. an artist must

crave, let's say, new impressions, only then will these impressions be able to be realized in some of his works. and the yans will live their own life. and what is this story, when you completely accidentally became the prototype of the sculpture of your mother’s homeland in minsk, this is the merit of valentinach, this is not... well, somehow i was a little bit even

maybe more powerful somewhere, so this was somewhere for me probably about 36 years old, well, i , too, with my character, i, in general, have always been in public somehow, or in the union of artists, in general, i’m not there, not somewhere out there with a gray mouse, which means, well, i’ve always spoken out in in general, everything is well and so it is simple. invited me, here is his figure, maybe even my views, my position, perhaps in life, as if everything came together in one thing, i think so, he asked you to convey some kind of internal emotional state of the image, well , you you know, that in general it was normal for me, that is, it’s like i didn’t need to make an effort on myself, now when you look at this sculpture while passing , let’s say you... see the similarities, what feelings do you experience? proud, proud of belarus, without

false pathos, i honestly say, i’m proud of the sculptor zankovich, and a little bit of myself , there’s a kind of art there, especially when somewhere there are such turns, where i raise my hand, then this is my my hands, there’s one hand raised, raised , yes, the second one is like this, yes there are similarities there, there are with me, of course there are. let's talk a little about the soviet period of your work, after graduating from college it was difficult to get, well, let's say, the first order, and what kind of work was it? you know, not even at first there were jobs according to the specialty , and these were even some design work, and then there were orders according to the specialty, and of course the biggest one, i don’t know, so you’ll probably ask me this question, and the national library, yes? that is, i had such a dream to make a large monumental work, i

kept it inside me all the time, that i had to do this, so that they would invite me, too , as part of other artists, to make babelens there, and somehow me immediately, in general, you can say it went well right away, here’s the sketch, i had it so gray , you know, like this... well , it’s more discreet in color, and we were kind of kept for a whole year, and then we had to do it in a month cardboard , just imagine 3-something meters by two -something and three-something wide and cardboard in a month, somewhere they gave a month for cardboard, but you know, i won’t reveal the secret, probably which many people did simply on the computer, enlarged their work, but i did... how artists once did , that is, as they should, and of course, there was anxiety, like me

in general, not only how will i have time to overcome everything, but how will you get it together, because when the work is not completely finished, it’s not, well, not yet, well, yes , well, i worked from about 8 am every day until 13 at night, every day, so you know that... here’s the big artistic advice that took cardboard, it should have been like once on this day to be, and 10 minutes before the council arrived i finished the color, when i finished, i saw that everything came together, there is an opinion that the dawn of decorative applied art in the soviet union is connected with the fact that this art was less subject to some kind of ideological censorship, this is a fact, the advice was very serious, every advice is such a very serious exam,

artistic council, artistic council , monumental, in general, i myself was in this monumental artistic council for many years, the requirements were very high, and if you make a remark, they were, you know, they were to the point and kind, but to the point, if you, let’s say, you saw for yourself that yes, you need to change it and they tried to achieve it, well, sometimes, sometimes everything went with a bang, and sometimes you had to go back and... allocated it regularly in full, that’s what among the artists, the authors of the gabilenes lived very luxuriously and richly, you know, how i lived in the apartment i got, yes, i live there in a two-room apartment, though in the center of the city, almost on victory square, but we never have anything luxurious it was,

on the contrary, it was, there was a feast. there were, there was fun, that was it, yes, because then, what is missing now, but luxury, yes you know , that somehow to luxury, well, i don’t know, i might be someone who took large orders, well, who had great opportunities, as it were, you know, what was spent where, on books, on trips, on trips to museums, that’s what the money was spent on, there is a stereotype that textile art is less popular than even painting, is this... true, or is this a mistaken opinion? firstly, there are a lot of fewer artists in painting, well , let’s take, let’s say, a sufficient number, like a mass, yes, arts and crafts - this is, in general, not so much, especially textiles now, well, not even textiles, i wouldn’t call it that, because textiles is a broader concept, but that’s exactly

the quality of the quality of the tapestries, the quality of the gobiliens, well, in fact, already there are practically none left. maybe, i don’t know , i guess, i’m doing big works now , yes, i have the opportunity to do big works, it’s hard work, you know, not everyone is able to withstand this work, frankly speaking, the audience really likes it , they are always happy to go and watch decorative applied art, because it is very interesting, it is, you know, man-made, and besides, that is, well, painting too, of course. man-made, but here there is also a kind of warmth of hands applied, that is, completely, well, this is perfectly felt in your work kupaalli, you know that i had a period, it’s interesting, i somehow did such works that were more complex in color, and then a misfortune just happened in my family, my aunt died, how could she still

live, well, all the illnesses are there, i’m scared i survived because i’m like a second mother, that is, we were very close, my mother’s sister is there, a very talented person, also an interesting person, unusual, so i myself was surprised that i came to the workshop, you know, i just there’s a lump in my throat , tears in my eyes, and i’m doing bright, bright work, maybe there’s some kind of healing, or something, i’m even kind of wild, you know, i’m almost crying, and i’m doing bright work , so i started a series, just here i am...

and college, i want to be no worse than others, there to achieve something, that’s all, and then something starts, you need to earn money , you need to have a family, yes, child, so you think, in general, are you an artist or not an artist, after all, i’m an artist, or well now i can say that yes, i am an artist, here is the collapse of the soviet union, a change in the system of government orders, a change in modernization.

it was just about 1996, i worked, you know, i also literally sat in the workshop day and night, i needed it, i wove the work in 16 days, by the way is also in the national art museum. and i received it, i was in time for the exhibition, i was in time, and you know that people are buying this work from me just as a salvation, well, that’s it, then somehow orders appeared

, some orders appeared, and what orders, depending on the dependence, yes, well, at the same time i kind of did it in fits and starts from quality, from that time until the moment when, in general , you somehow stabilized... the situation was such a desire to leave the profession, to do something more commercially profitable, never , you know that i believed in yourself, but not that so that he believed, i just don’t even think differently about it, and which of your works in general, in general , i have a series of horses, how would it go , just like this, and a carol, at first there was a carol, and then a series went like horses, but they really are... i'm a little proud of this, because they are original, that is, it is very important to do something that no one has done, right? which of your works has some very unusual

history? well, first of all, my ragneda, of course, my ragneda in the national library, this you know, some kind of tribute to a woman, not just a woman, a woman with a capital letter, that is, she was a person, for me in general, when a woman. personality means a lot to me, that is, in your work you are interested in precisely such characters, complete ones, yes, yes, yes, and some even like that, something really important, interesting, because it really is character, because she carried this is all this pride of hers, yes, which she was forced to keep inside like this, it still goes away, yes through such experiences in life, you still remain proud and unbroken, frankly speaking. after all, you’re not broken, what are you working on now? oh, now i again have such a joyful, joyful theme, you know, it ’s more like a summer evening, it’s

on my machine now, it’s literally on my machine waiting for me at home, there, again, it ’s belarusian, our butterflies , well, well, this is so summery, well, absolutely so joyful, joyful, here it is, red orange, blue, pink, well... this is such a combination, but in general it’s just that i completed two works, one large work , 70 meters high by 2 meters wide, there is also a horse, a horse, but it represents the dawn, yes, it is on a red background, it’s all red, it’s all on fire, red orange with belarusian ornaments, where- then interspersed, she has wings, the same... now i ’ve finished the work, literally, as they say, they haven’t been exhibited anywhere yet, i ’m preparing an anniversary work for my exhibition, it means it’s night, there are also horses there, but she’s

like that belarusian and belarusian, you know, such combinations of colors, pink, dense, such a pink color with green, with dark blue, the horse is drinking, natalya vladimirovna, can you predict the future? so to speak - well, belarusian textiles - won't modern design absorb it as, in general, something outdated? we have artists entering our sections, but you look, well, i say, where is the quality in general, where, where there, where, where are the real tapestries, because once upon a time huge works were done, very interesting work, in general everything was very interesting this is, uh, now. i don't see it, so i i’m trying to show that there is such a thing, you know, well, i kind of planned an exhibition, i won’t say yet, as if yes,

but it will be my anniversary at the end of next year, i’m also doing new work for it, i want to show that you can work, well, as i understand it, it’s pointless to ask you such a question, of course you believe in what you have. we are in culture, in art, we are now, i think, sitting in a hole, yeah, so i’m speaking sharply,

you know, maybe even somewhere... i’ll say it again along the way, as if for less resistance, it’s fashionable, something is fashionable, something sells, a lot played a negative role when these... salons, sales started, because so many artists simply turned into meshta, they just went to stamp, well, make money just money, yes, i don’t think that a walker should be hungry, i don’t think so, but in principle, when you are too full, it’s probably also harmful, our program is called the meaning of life, for you what is the meaning of life, in my work , of course, well, you know, a certain period is important for a woman when the child is growing,

yes, the meaning of life becomes a child, this is unconditional, this, this, this , that is, life holds on, well, it is divided into periods, but always as a red thread, yes, it always passed, well, don’t lose, don’t get lost, what - to achieve, you know, to sound something, to say your word, well, well, like this, probably yes, natalya vladimirovna, thank you. for this conversation, very interesting , good luck to you creatively, i also want to wish that your creativity makes people happy, that people, looking at your work, believe in goodness and beauty, thank you, for this i i work, in general i work for the sake of people, because, thank you, this was the meaning of natalia

sukhoverkova’s life. there are 256 countries in the world, mostly the world admires belarus and belarusians, like cuba, brazil and venezuela, but for some time we had the habit of not listening to them, but waiting for a bunch of other countries to appreciate us. supposedly more democratic than all of the above states. the most psychologically difficult thing is to monotonously, methodically, calmly, but efficiently, do your usual work every single day. and this, it seems to me, needed from us for the country in 2024. if someone doesn't know where to start, start with yourself. they are constantly trying to prick lukashenko and his government with this word, saying that you need stability. does

biden, so to speak, want stability? he wants more stability. everyone, because the united states is potentially a much more unstable system than russia, china, and even belarus, but there is a nuance: the stability of america is ensured by the instability of the rest of the world. we need to evaluate this stability, because it is not that expensive it's worth it, it's priceless. the propaganda project, watch on the belarus 24 tv channel

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