Viktor Sheleg is one of those artists who never sought refuge under the reassuring structures of academia. On the contrary, from the very beginning of his artistic journey, he felt the urgency to break free from every pre-established rule, to defy expectations, and to translate the world not through the logic of the visible, but through the subtler and more searing logic of the perceived. Born in 1962 in Latvia, Sheleg grew up surrounded by colors and silences, discovering painting as a necessary act from early childhood. It was his mother, an artist who never had the chance to pursue her path, who gave him his first box of oil paints—a small gesture that proved to be foundational, almost ritualistic, like the passing of a sacred flame.

His artistic path has never been confined to a single expressive identity. Rather, his painting adapts like living skin to the emotion of the moment. The canvas becomes a field of tension where figuration and abstraction coexist, where form and dissolution, concreteness and dream intermingle. It doesn’t matter whether what appears is recognizable to the eye or belongs to the undefined: what matters is the truth of feeling, the fidelity to an inner vibration that guides the gesture and transforms the act of painting into revelation.

In Viktor Sheleg’s work, abstraction is not a chosen language, but an inner urgency, an inevitable way of existing on the canvas. His painting escapes the dictates of form and subject, instead embracing an emotional, instinctive, and deeply visceral grammar. The use of color—never ornamental, never predictable—becomes a revolutionary gesture: it does not respond to a codified aesthetic, but arises from an internal tension, from an authentic vibration that dismantles every scheme.

In his pictorial universe, the observer is not guided by a hierarchical order of color, stroke, and figure. On the contrary, they are suddenly swept away by a chromatic whirlwind that precedes any recognizability, by lines that seem drawn in a state of deep listening, as if the artist’s hand were responding to an inner call more than to a plan. In Sheleg’s work, abstraction is breath, is skin, is flesh. It is space itself becoming emotion.

Each of his works thus becomes an act of exploration, a tireless investigation of a pictorial elsewhere where the mark does not describe but evokes, where the gesture does not represent but reveals. The composition opens to new perceptual dimensions, where balance is born from risk, and beauty manifests in the collision between energy and mystery. In this way, Viktor Sheleg does not paint the abstract—he lives it, inhabits it, crosses it.

The artist has never painted for pleasure or as a profession: he has always painted out of necessity. For this reason, he approaches the canvas only when he feels the urgency, when he senses within himself that irrational and powerful energy seeking a way out. Each of his works is a near-carnal encounter with the invisible. Often, the face of a woman emerges from a sea of signs and colors, like an apparition that asserts itself with both gentleness and authority. The female figure is never a decorative object, but a dominating subject, a symbolic epiphany of interiority.

Thus, his pictorial language becomes liquid, changeable, irregular—and precisely for this reason, authentic. Sheleg aligns visual narration with emotional states, like a musician improvising on the theme of the day, like a poet transcribing a dream without rereading it. In an era that demands definitions, categories, and labels, Sheleg responds with the ambiguity of true art—art that cannot be explained, only experienced. And perhaps this is where the secret of his strength lies: in the absolute fidelity to himself, in the courage not to ask permission—from the eye, nor from the mind, but only from the heart.

Giuseppina Irene Groccia

To complete this intense and passionate portrait, we add the words of the artist himself, who in this interview accompanies us into his creative universe, revealing visions, impulses and thoughts that animate his painting.

You have said that when you create an image, you are guided by emotions and energy. Can you tell us more about this creative process?

This is a case where showing is easier than explaining. My subjective opinion is that there are artists who can animate an inanimate object (painting), and there are those who are not given it. An artist can possess a high set of technical methods, have a great experience and enviable diligence, but his pictures have no magnetism, they are lifeless although they are highly professional. Another example is when you look at a painting and can not tear your eyes away, although the artist and does not have a high school of professionalism.

I do not go to the canvas when emotionally empty and do not treat painting as a job. For me a painting is like a partner with whom I am in dialogue. I fall asleep thinking about what we haven't agreed and waking up I run to tell her something important.

I can describe this process for a long time, but I can't explain where this current comes from.

How does harmony emerge from the chaos of colors, stains, lines, and splashes in your works?

It's both simple and complex at the same time. You have to be able to pick out beautiful pieces from the chaos and incorporate improvisation around that concept.

Your artworks often depict women in a fascinating and complex way. What inspires you in these representations?

For me there has never been a choice of topic . No matter what I paint, it's always a woman. Just kidding. I'm basically an abstractionist, but in the cacophony of the subjectless I start to see the female image. As a rule, the female image takes up all the space on the canvas and there's nothing left of abstraction.

Have you ever experimented with other media besides painting?

The endless search for means of expression and material! Metal, wire, paper, kraft, newspaper, textiles, foam, etc.

Your work invites us to question conformity and social norms. How is this concept reflected in your paintings?

I welcome hooliganism in painting because you can't go against your nature, but I also like it when it's beautiful.

What message do you want to convey through your art?

That's hard to judge. If there is something like that, the viewer sees it, I don't know about it. My message is not shouting, not clasping hands, not teaching, maybe it's like an air kiss.

Your teachers advised you not to pursue academic education in order to preserve your unique style. How did you experience this choice?

Yes, I had such a thing in my life. I wouldn't say they were teachers, but they were authoritative people in the visual arts for me. A young man with modest achievements was pleased to hear about his individuality. I didn't understand what they were talking about. What is individuality? I really wanted to study, master professional skills, be in a team of the same people, but in the end I went my own way, learning the secrets of mastery through self-education.

What have been the most significant moments of your artistic career?

Maybe it happened when I was 12 and I came across a box of oil paints. My mom said that these paints were bought for her a long time ago, she also wanted to become an artist, but something didn't work out. Maybe you can do it, she said.

You have exhibited in numerous countries and participated in important art fairs. How have these experiences influenced your artistic journey?

Frankly speaking, it did not affect my creativity in any way, rather, we should talk about material well-being. Of course, when your paintings are bought, there is an incentive to engage only in creativity, not distracted by making money.

Do you have a particular artwork that you feel most connected to? If so, whу?

When I was very young, I saw a painting by Kees Van Dongen, "Woman in a Black Hat", in the Hermitage. In this painting, I was struck by the turquoise highlight on the girl's face. It seemed to be at odds with the overall color scheme, but at the same time it was an important accent of the entire work. Later, there were Van Gogh, Gauguin, Toulouse Lautrec, but this was my first impression.

What is your relationship with collectors and the contemporary art market?

Relations with collectors can be called harmonious. They love my art and I love theirs. The contemporary art market is a metaphysical concept, and you have to adjust to it. There is no love in it, only expediency, but you always have to be yourself.

Which artists, past or contemporary, have influenced your work?

I have already written about it earlier, I can add Valentin Serov, Feshin, I. Repin, Kandinsky, Rembrandt, Picasso, Kathe Kollwitz, although there were many more....

If you could collaborate with an artist from any era, who would you choose and why?

Maybe René Magritte or Antoni Tàpies .It's hard to say why these particular artists, it's more of an intuitive.

How do you see the future of painting in an increasingly digital world?

I don’t think about it, I live and work today.

What is your opinion on abstract art and its evolution over time?

My subjective opinion is that abstraction is a very lightweight art. It is very pleasant to do it, any person has such an opportunity, and sometimes animals too. I don't think that's going to change. Color therapy has a good effect on people, and in the interior abstract painting is an irreplaceable accent.

Do you think art should have a social role, or should it simply be an aesthetic expression?

Personally, I'm in favor of aesthetics in painting in the presence of expression. It's good when a painting has an impact on the viewer.

What advice would you give to young artists who want to establish themselves in the contemporary art scene?

If a young man has no talent as a painter, it is better to do something else, and if there is talent, more work, do not rush to declare themselves to the world.

Viktor Sheleg is a contemporary Latvian artist whose work is distinguished by its expressive power and deeply personal artistic vision. Born in 1962, he currently lives and works in Latvia, where he continues to pursue his artistic exploration.

Viktor Sheleg’s talent was evident from an early age. When the time came to pursue formal academic training, the professors at the Academy of Art recognized the exceptional quality of his already well-formed artistic style. They advised him to forgo conventional education in favor of cultivating his distinctive and independent creative voice.

Sheleg’s artistic output is characterized by a profound sense of freedom and a critical reflection on social conventions and conformity. His work invites viewers to question the norms that shape our everyday lives, while celebrating the beauty of individuality and authenticity. Particularly striking are his intriguing depictions of women, which stand as a testament to his remarkable ability to capture and convey the complexity of human existence.

Viktor Sheleg’s art has transcended geographical boundaries, gaining international recognition through participation in numerous prestigious art fairs around the globe. His unique and evocative style has left an indelible mark on the contemporary art scene, inspiring critics and art enthusiasts alike to view the world through a more poetic and introspective lens.

In addition to his artistic career, Viktor Sheleg is married to Alla and is the father of two children, Maksim and Natasha.