Azarkin Pavel’s work is rooted in a long-standing dedication to watercolor, shaped by academic training and a deep appreciation for classical art.
Influenced by the Dutch still lifes of the 17th and 18th centuries, his practice centers on a timeless subject—yet one he continuously revisits with fresh perspective and intent.
In this interview, Pavel reflects on his early studies, his connection to watercolor, and how tradition continues to inform his evolving approach to still life.
The Discipline of Seeing
When did watercolor first become a serious part of your practice?
Since 1999
What drew you specifically to watercolor within an academic context?
Studying at the Ary Academy
How did your early studies shape the way you approach painting today?
My studies at the academy had a strong influence, as did exposure to art in museums. Dutch still lifes of the 17th–18th centuries made a particularly strong impression
Could you share your favorite piece of work at this stage and introduce it briefly?
Still lifes is my passion. And each time I try to convey something in a new way, from a fresh perspective.
Looking back, what was most important in your foundational training?
A lot of work and a high level of visual exposure. Of course!
Structure, Light, and Restraint
How do you approach structure and form when working in watercolor?
Structure comes first. I establish it through drawing and tonal relationships before introducing color. Even in a fluid medium, the construction must be clear: proportions, perspective, and large value masses. I reduce forms to broad planes and avoid premature detail. Watercolor works only when the structure is already stable, since corrections are limited.
What role does light play in organizing a painting?
Huge role. Light is the primary organizing principle. It defines hierarchy: what is essential, what is secondary, and what can be omitted. I think in terms of light and shadow masses rather than isolated objects. If the light logic is clear and consistent, the painting holds together even with minimal detail.
How do you balance precision with the fluid nature of the medium?
Precision is determined before the brush touches the paper. Edges, shapes, and value relationships are planned in advance. Then I allow the material to behave naturally within those limits. The balance lies in control at the decision stage and freedom during execution.
How has your experience with Artify brushes influenced your control or precision in watercolor?
A stable point and reliable water retention allow for more controlled edges and cleaner shape definition. This reduces the need for corrective layers and makes it easier to maintain precision in the first pass. At the same time, good responsiveness helps vary pressure and stroke without losing structure.
What distinguishes a resolved watercolor from an unfinished one?
When I see that the idea has been conveyed, it is finished. Otherwise, there is a risk of starting to ruin the work.
Continuing the Practice
How do you see your practice evolving over time?
It moves toward stronger structure and clearer decisions. Less correction during execution, more planning before the brush touches paper. Over time, control increases while unnecessary detail decreases.
What aspects of watercolor are you still trying to understand more deeply?
Controlled randomness, and timing of moisture. Also how far a form can be reduced without losing its spatial logic.
Are there subjects or conditions you want to explore further?
Low-contrast scenes, high contrast, backlit situations, and limited palettes. Also complex textures (stone, water, foliage) under unified light conditions. Etc
What continues to hold your attention in watercolor?
Unpredictability within constraint. The balance between control and diffusion, and how small shifts in water/pigment ratio change the entire outcome.
Do you feel your work is becoming more simplified or more complex?
Structurally more simplified, but internally more precise. I am trying to move toward a simpler yet more expressive approach, as I consider this the highest level of artistic mastery.
For Azarkin Pavel, still life is not a fixed subject, but an ongoing exploration.
With each painting, he seeks new ways of seeing—balancing tradition with subtle reinvention.
And through this process, even the most familiar forms remain open to discovery.
To see more of Azarkin's work and follow his creative journey, visit:
Azarkin's Instagram
0 comments