Kursi Koolkond artists group

Here is a small introduction to the artists group called Kursi Koolkond. The artist group originally created in 1988 by 4 young men -Peeter Allik, Ilmar Kruusamäe, Priit Pangsepp and Albert Gulk in Estonian town named Tartu is now 36 years later the oldest continuously active group in Estonia. At least one or two local and international highy professional art exhibitions are organized every year. The Estonian name Kursi Koolkond refers to the small village of Kursi in central Estonia, with which all founding members had some sort of connection. As in any band that has been active for a long time, several members have passed through the Kursi Koolkond.  Marko Mäetamm, Reiu Tüür, Imat Suumann and  Külli Suitso have

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By the mountain lake

I will talk a little about one of my last oilpaintings born at the beginning of 2024, which I named “By the mountain lake” Of course, we could talk more about the relationship between the paintings and their titles. This is always a bit of a problem for me personally. Sometimes giving a name to a painting is easy and the title even seems to be the only option, but often enough it is just the opposite.  It has become a tradition that every child has a name, and of course it is also a practical matter. Who would bother memorizing everything, for example, according to the numbers in the order of birth. The painting in question was named after

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Drunken Buddha and the rest

It has been fourteen years (!) since the last personal exhibition in Estonia After such a long break, one could feel uncertain about coming back to the Estonian art scene. Moreover, the opportunity to make the exhibition came unexpectedly, barely four weeks before the deadline. However, the feeling is quite strong. The Small gallery of the former hometown Tartu Art House is a familiar place and easy to manage due to its size of only 56m2. Rather, the anticipation is to see the entire existing new painting set as a whole in one room. In addition, I plan to approach the design of the hall in an innovative way for myself and expand the dimensions of the paintings slightly outside the

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series of exhibitions “Puusüü” / “The Woodgrain”

story behind the exhibitions Every artist knows how much the material on which the work is created means to the experience of creation. It is a completely different feeling to paint on white fabric or on natural plywood already full of patterns and shapes. Plywood as a base material has been used in my paintings throughout my time as an artist. Although I have used it very sporadically, I can still call it my favorite material. I consciously stopped painting on canvas a few years ago when I started experimenting with the possibilities of fire and tree cooperation.  Of course, these are not equal partners, and so the wood does not have the slightest chance against fire. As a cautious

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Wild Ones

“Wild Ones” is a oilpainting done well! I praise myself too rarely, and that’s why I’m doing it today. I started preparing for the painting at the beginning of December. Two larger plywood trays with a beautiful pattern were waiting and so I decided to burn them together. Messing around with a gas burner in a crisp, cold weather in the yard of the country house was a mystical experience in itself. /see the process on Instagram I was already very excited from the burning process and couldn’t wait to get started with the painting. The central figure position in the plywood board was clearly established by the allmighty itself, and the paintingtook off from there. I painted a bit

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In the woods

I will talk a little about the painting called `In the woods.’ I used to make preparatory sketches before starting the paintings on the burnt plywood boards. I planned the compositions of the works quite precisely before starting to paint. However, I have always considered the process of painting itself as important as the end result. Surprises in the course of work are exactly what give things pleasure and excitement. While burning the wooden boards and planning the artworks, I found that the paintings had started to compose themselves. I don’t have to start ”from scratch” because the fire element has already firmly established itself on the plywood. In the painting `In the woods, the main composition, which has been

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