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Elena krumgold

I consider my paintings to be live beings.

I started to paint when I was little; at the age of 5 – 6, I won some prizes at the international children’s artists’ competitions and was the youngest student at our local children’s art school.

I was very attached to my art teacher. When she left our town, I stopped painting, I was about 12 years old. I tried to paint again when I was 39 while recovering from an operation and battling post-traumatic stress disorder and depression.

Being a Quaker I see all life as sacramental, and all days as holy, but at the same time, I find great meaning and inspiration in living in harmony with nature’s seasonal circles respecting the Wheel Of The Year and exploring European pagan traditions.

Being very introverted I’m not too active on the art scene, however, I took part in some exhibitions and events such as the Samhain solo exhibition (Worthing, UK, 2017), Greenbelt Festival (Kettering, UK, 2018), Magical Women Conference (London, UK, 2019), Seeking Roots (Ulverston, 2019) and Geysers of Subconsciousness ​International Surreal Art Show (2020), The Horse in Art, 2019, Aylesbury, It’s a Season to Sparkle, Worthing, 2021 etc.

Portfolio

Every time you buy a painting from me, I donate a part of the money to small local charities in Ukraine.

Greek Cicada
This painting already have found a good home. As usual there is a strange story about it. I painted it in May when there are a lot of baby birds around. I didn't want to paint a bird at all, but it appeared as it usually happens when using accidental painting techniques. Soon after the work was finished my husband found a dying baby finch. My daughter saved it feeding every 15 minutes - it survived and went to the birds sanctuary. Interesting that in some medieval painting traditions goldfinch was a symbol of Christ's Passion and his crown of thorns.
Owls are Not What They Seems
Imbolc
Moon Phases
THE GALLERY

When I paint I can not have anything exactly planned. First I put chaotic splashes of paint on the canvas and then I see what or rather who is emerging from the surface. I see faces and shadows in marks, cracks, and accidental shapes. Those shapes and shadows just need a bit of highlighting or outlining to help them to emerge fully. I don’t paint them, I just help them to be more visible.

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