Peter A. Koren'
Look around you — everything that is utterly mediocre is presented with a straight face — ninety-nine per cent of what you see around you is exactly like that. If, then, you seek a breath of liberty, a whisper of true craft, a tremor of authentic art, be assured: you have already set your foot upon the rightful path, and here you stand in the very precinct where such things abide.
Without you, I shall not release the shutter, nor complete the sitting, nor bring this work of vision into being. And without me, you shall not pass into the annals of remembrance, nor shall you be hallowed by the refining fire of symbol and invention. I am creativity itself—the living spirit of artistic photography, the plenitude of demiurgic force, the virtuosity of beauty, the discipline of the eye, the making of all things from nothing. Welcome, then. Gaze. Wander. Reach out your hand.
At this hour, my chief desire is for portrait sessions of a grander scale—gatherings wherein I capture above fifty souls, each with a single exposure; a second, or even a third, I grant but sparingly, as a rare grace. And it is for this very reason that fifty are required. From these shall spring, in time, an album, a photobook, an exhibition, or a gallery hung in the ether of light.
Second, yet no less dear to me, are the cool nude studies—wrought in the stillness of the studio or beneath the open sky—whether born of commerce or of pure creation, for the offer flows both ways. I am as willing to stand before the lens as behind it, knowing full well what deep exchange such nakedness may grant.
So, hail to you. Let us begin.
It all started off rather drearily.
Choose the mask and the recipient of your message yourselves))
Peter/Пётр
…That Peter should one day rise to eminence among photographers seems scarcely a matter of doubt. His métier is the black‑and‑white portrait, and the artful study of form; yet his true subject is intimacy itself, most often captured in the familiar faces of friends, and not seldom in moments of naked candour—both emotional and fleshly. “There is an exoticism in his images, ” wrote his friend Chloe A., “but never of the cheap or startling kind; rather, it is a revelation of body and space, surprised into truth.” She added: “Before his studies of the unclothed figure—nay, even before a bare stone or a halved grapefruit—I have known, more vividly than anywhere else, what it is to be unclad, and to find in that very nakedness a fortitude, not a wound.”
The same rare sympathy breathes through his renderings of beast, landscape, and fragment; each bears the stamp of a most personal portrait, as though the very world, in its silence, had at last found its witness.
Portfolio
My fine art spans the breadth of photographic form, from the slender gauge of 35 millimetres to the generous expanse of 18 by 24 centimetres—or, in Imperial measure, eight inches by ten. Of the images that grace this site, nine parts in ten are my own handiwork, wrought upon narrow film or upon sheets of nine by twelve centimetres. Such digital images as do appear, and which aspire not to the realm of fine art, are set apart with rounded corners, as though to soften the rigour of the machine.
Yet commerce, too, has its place within my art, when art may be found therein. I lend my eye to:
—the portraiture of brands in advertising;
—the careful rendering of products for catalogue and web;
—the living matter of social media;
—the business portrait, stern and telling;
—and the greater image of a company—its face, its spirit, its silent proclamation.
In all these, I seek not mere utility, but that glint of beauty which elevates the useful into the memorable.
Method/μέθοδος
I practise the fine art of photography—but what, you ask, does this signify?
Firstly: it is the indivisible fusion of the grandeur of the concept, as an intelligible substance, and the creation of a symbolic event (frame) of the highest coherence, density and uniqueness, as a substance that is rather material in nature, at the vibrant and magical point of the artist’s symbolic expression, possessing the fundamental properties that actually define a work of art: indivisibility, irreversibility, pluripotentiality and irreproducibility. Secondly, there is the technical level (tékhnē): all processes, from the actual shooting to development, scanning and printing, are carried out to world-class museum standards.
I offer my services alike to private patrons and to brands, guiding them toward the creation of unique visual content—work of which they may justly be proud, and which they may employ in manifold ways. Yet let it not be forgotten: every frame I make is, first and last, my own work of visual and symbolic art—a thing to be seen, interpreted, and quickened into life—and as such, I reserve the right to employ it for my own purposes thereafter.
Before each sitting, we confer at length upon the project brief, the chosen format, and the destined places of display and use. From these deliberations nearly always springs a rough visual style; the location reveals itself; and the essential details of the shoot take shape, as though by their own volition. Thus do we prepare the ground for that which is to come.
FAQ, SHOOTING, CONDITIONS.
My chief haunts are St Petersburg and Moscow, though from time to time I journey beyond their borders—to other cities, other countries—when the call of a commission beckons. I work with a variety of photographic formats — ranging from advertising and product photography to business portraits, portrait sessions, and unique, out-of-the-ordinary content for brands. On this website, you can find out more about the different types of photography I offer, my working methods and the terms of collaboration (for key enquiries regarding collaboration, please email me only at: Peter_A_Koren@proton.me).
POSTERS
A1 and A0 Art Posters: The posters are printed on premium photo paper, photographed in wide format, professionally developed and scanned using a high-end drum scanner; the original file size is 2 GB. All posters are numbered and signed by the artist by hand; the number of copies in each series is limited. All posters are packaged in a rigid tube.
Calendar 2027
Wall calendars in A1 and A0 formats. If you’re reading this description, it means that, just like us, you find it unbearable to look at the tyranny of mass-market vulgarity. That is precisely why we do this — so that contemporary art is accessible, so that the art of design and the art of photography, woven together in large-format calendars, may delight our eyes and yours, change the world, and enrich and embellish your space.
Bizart
Paintings and photography, the Bizar online art gallery. Large formats, lamination (DIASEC).
Highlights. Latest.
This gallery showcases some examples of the final out—comebe it an exhibition, a book, materials for a brand book, or a portrait session. Yet here, in this particular collection, the photographs stand apart from one another, bound by no sequence, no narrative thread, nor any implicit or explicit kinship. They are solitary, each complete in itself, untethered from those deeper connections that I hold most dear—connections which, in their fullness, give birth to the other galleries and sections that await your wandering eye elsewhere upon this site.In
Ecce Homo. How to become yourself.
A person in the frame is priceless. . . it is the magic of cooperation, coherence, and movement, movements—so diverse and understood in so many different ways—as they come together, and of trust. Without a person in the frame, I can do nothing — as Georgia O’Keeffe said — ‘I hate flowers, but they’re cheaper than models’; Without a model, one can only suffocate in anticipation—choked by the stifling sense of how a bare buttock might have pertly emerged from this grille, this window, this hatch, upon this rooftop, or from beneath this very dress, in this very spot, beneath precisely this fall of light.
Without you, I cannot shoot, cannot trace a single line, a single letter, a single poem, nor bring a single book into being—only feeble landscapes and still lifes remain, and these I hate with blissful relish, carrying onward the tradition of Georgia O’Keeffe.
Why is it that only the naked body serves as a classical symbol, an indigenous sign, a voice of ethos borne of millennia-old power? These are all tokens of culture—and this is the process of becoming oneself, and the confrontation with oneself. The nude body possesses the widest possible range; it bears a voice that is reflected—or rather, one that envelops it—a voice at once creative and a safeguard against triviality, the very palms of the artist’s expression.
The naked body is a fundamental signifier, predating the rational human who thus gazes upon themselves—within their dual, divided Cartesian self-assurance—predating the cogito, and all the more so predating genre, the written word, and consumption. The naked body is a singular poetic condensation; it is a lyrical, poetic, mythical puncture in the plane of being—one that generates symbolic spaces and ethos, a fundamental point of assembly, the single origin of all theories and all significations. It is not an end in itself; it is always truth. It is always both the born and the generating principle.
I am ever searching, ever open to any collaboration, grateful and receptive to every opportunity to create on equal terms—and together, to bring forth something vivid, something secret, something utterly candid, utterly tactful, tactile, dancing semiotically and symbolically—elusive, turbulent, and always true—and having neither logical nor poetic conclusion.
