Artist statement. I'm the voice of th noosphere, expressing heart vibrations of the Universe since I was two. I created a New Renaissance transformational science art and art therapy on the base of biosphere-centric approach by Vernadsky and inter-religious practice. I create dynamic metaverse of healing art, combining ancient spirit of the Planet and virtual reality of the noosphere. My creative strategy is global collaborations for the benefit of all living beings of Earth.
Author's style. I created Transformational Science Art is an innovative approach to the conscious creation of the art motivating to sustainable development and its creative application to biosphere-centric transformation of lives of people, organizations and places of Earth. My 5 interrelated art formats cover the entire spectrum from reality to virtuality are photo collages, painting of meanings, digital art, works based on artificial intelligence – and art performances "visual + poetic" with therapeutic effect. Applications of transformational science art include artist books, art marketing, interdisciplinary collaboration and cultural diplomacy focused on conscious creativity, responsible interaction and practical integration of art into sustainable development of people, organizations, and places on the Planet.
Meta-task. On February 24, 2022 I gave an interview on my art strategy for the Singapore Fenix360 blockchain platform for promotion independent artists to their potential global fans. My interviewer is the camera man of "Jurassic park" and we both agreed on THAT day we will speak about my transformational science art and our common creative work for the benefit of the Planet as this is our way to lead all living beings to their happiness in our common biosphere.
Bio. I graduated from the chair of computer science of the math department in the Moscow State Uni, Media Art Lab, Institute of psychotherapy, Higher literary courses and Global Diplomatic Forum. Since 1990th I was a senior scientific researcher of the Russian institute for cultural research, developing cultural brand of Russia. I got fellowships in transformational diplomacy (BBC, London), Web communities (Central European University, Budapest) and EdTech (Aharon Ofri International Center, Jerusalem). My PhD in media education was devoted to computer animation. I published 300+ articles, including IT futurology column “White swan”, & 12 books, including "Virtual Reality for the Beginners“ with the prize of Academia Euroepaea. I create the art of sustainable development, whatever I do. For instance, after my interview with Simon Anholt, political consultant of 55+ presidents and Nobels Colloquia Prize for Economics Leadership laureate @ the Moscow Urban Forum in 2012 I considered his global rating of city&nation brands a project of successful egoists. So I asked Simon to close it in favor of the rating of countries, caring about the Planet according to Vernadsky's biosphere-centric vision. Simon did that and started the Good Country Index, which measures countries' investments in the development of Earth. Simon's TED talk about Good Country Index received 7.5+ million views.
I influence the world using the batterfly effect. Since 1990th my online “Museum of Art&Poems” placed on the Portal of Russian cultural Heritage was included in the “The art stand” database of artists from 85+ countries, “empowering communities through art". I was a PR manager of 3D Web company ParallelGraphics and International Festival of Computer Graphics “Anighraph”, speaking on digital art in the State Tretyakov Gallery. I worked as an art therapist of 200 pregnancies and business trainer in creative thinking of 150+ companies, including IBS, CROC, Miro, RBC, EKSMO, Honda, J&J, BP, etc. I published tutorials in innovative career, biospheric therapy and creative writing. My 50+ novels&poems were published in Russia, Germany, USA, Israel & Australia - and got prizes from the Russian Geographic Society, Russian Cosmic Corporation “Energia”, Big Symphonic Orchestra, Ministry of culture of Mordovia and “InterPoesia” mag (Israel). My novel “The austornaut” was included in the Honorable Mention List of the New Millenium Writing Award (USA, 2018).
Now I'm a member of the Creative Union of Russian Artists with 750+ art works on Arthchive.ru, speaker on Russian city brands of the Russian Academy of Arts and brand ambassador of InsituArtRoom app (Sweden). I got a Special Prize 2020 from the MellowApp (Japan), delivering art for 170+ countries, and a Special Recognition Prize from the “Primary Colors” Exhibition 2021 of the Light Space & Time Online Art Gallery (USA). My diptych "Princess Frog & Archangel Mikhail" was included in "Identity" issue of the "Boomer art mag" (London, 2021) with Frida Kahlo on the cover. I participated in the “I HeArt Connection” Virtual Show (Art Therapy Institute, USA, 2022), Photo & science art Festival “Connect” (Bitglim corp, South Korea, 2022), “Homer’s Odyssey” online show (Pocketstar gallery, Greece, 2023) and Print&NFT fair "Chromaflora: A Hybrid Art Exhibition blending Nature & Technology" by (MUTI&Artsies, Portugal, 2023).
In spring 2023 I published the artist’s book “Cultural brand “Russia” for innovators of the digital era” in collaboration with Kuznetsov porcelian collection, supplier to His Imperial Majesty with a 200-year history. In summer 2023 I lined up the UNESCO Convention of Natural and Cultural Heritage according to the levels of motivation for sustainable development: “pristine nature, nature reserves, cultural landscapes, monuments and ensembles, territories of sustainable development”. I added also the top level #7 “genius loci” to the Convention and presented the pilot of my model in an online AI art project “Bricolage “Spain”: the unity of natural and cultural heritage” in collab with ICOM hispanist Alina Koroleva, associate professor of the Moscow State Institute of International Relations of the Russian Ministry of Foreign Affairs.
I create AI art embassy of the biosphere, where peace is a bridge, uniting opponents for the common aim of caring about the Planet. I'm featured in the GlobalArtMag, February 2024, delivering best contemporary art to 10+ million of people globally. My inspirers are Tara (female form of Buddha :), da Vinci, Velazquez, Miro, Mozart, de Saint-Exupéry, Pushkin, Vernadsky, Gagarin, Brin.
Natalia Garber wrote the artist's book "Cultural brand Russia for the innovators of the digital era", presenting her unique creative “model of governing the Planet with the consent” based on higher human & ecological values in modern context. From the point of view of cultural diplomacy I want to highlight the three key lines of this manifesto: creative sustainable development, cultural dynamics from tradition to innovation and building cultural brands of cities in order to create their virtual&real global partnership to care about the Planet together.
This innovation is very topical, because the European civilization is still haunted by the subject/object dichotomy established by the philosophers of the Renaissance and Modern times. Initially, the subject was recognized as a person, the one who knows, and the world is an object, something that is known. The subject is usually a male, European and intellectual. Anything that doesn't meet these criteria is labeled as "other", which is treated as an object. In spite of the achievements of quantum physics and meditative practices, the whole World is still treated by us as an object and studied by natural science, not by mystical methods - as an interdependent partner of the human researchers. This leads to the attitude towards nature as a quasi-infinite resource and environmental problems since the 20th century. In the 21st century, the subject-object paradigm becomes more complex as postmodernism ironically reconceptualizes the subject - and we get the flowering of many theories of rational environmental management, post-colonialism, racial and gender, etc.
The attitude of Homo Sapience to nature leads to the destruction of the environment, and eventually of humanity itself, but in a very distant perspective, which is poorly perceived. Thus, inner and outer nature of humans becomes a subject from an object, and is endowed with the rights that are inherent in the subject, which must be respected. The picture of the world is being revised. At the First UN International Conference on Environment and Development in 1976, it was decided that the theoretical basis of international environmental policy should be developed on V.I. Vernadsky’s doctrine of the biosphere and noosphere. Ideas about the impact of human activity on natural processes are formulated in his unfinished book "Chemical structure of the Earth's biosphere and its environment" in 1944. Since then, the philosophy of sustainable development has been one of the main areas of eco-philosophy and environmental ethics, proclaiming the responsibility of mankind for the preservation of the biosphere and people on Earth.
The well-being of the Planet requires an adjustment of the anthropocentric approach and the harmonization of ecological, social, economic and spiritual systems in the interests of all current and future generations of living beings on the Earth. As the main part of modern humans live in cities, Natalia Garber contributes to this agenda with her biosphere-centric art of cultural cooperation for the benefit of the Planet. The artist carefully grows her innovations from traditions by the best tools of cultural & ecological evolution through the disclosure of the potential of territories, based on the global ocean of culture. Innovations are ideas that are effectively implemented and, over time, usually take their place in the symbolic capital of culture, enriching the tradition from whose fertile soil new innovations grow. Often, in the early stages, innovations are misunderstood, rejected and "resisted" by traditions. The public and experts consider innovators to be "eccentrics", because in order to penetrate Art Futures, that same Serendipity in Action is needed. Any rational and irrational, local or global traditions develops only through constant renewal. Therefore, cultures that reject innovation cycles perish, while those capable of renewal become a successful part of the national and world cultural heritage.
Natalia invites you to go the second way together, transcending differences through serving the common goal of the creative development of life on Earth. Natalia Garber's project is aimed at the innovative evolution of the culture of the planet's cities - this is an invitation to a jam session of cultivating international innovations from the global ocean of traditions. We can all create a beautiful Planet of the digital age, helping the ocean of world cultures and the wealth of human talents to unite in the life-creativity of the Earth, the artist says.
In tune with the experience we made a science art bricolage Spain, presenting the unity of natural & cultural heritage of this country in 2023. Natalia forms cultural brands of territories with her art as an innovative sociocultural mythologeme based on critical analysis and creative synthesis of images of cultural human care for planet. Passing between Scylla and Charybdis, the artist transcends the social illusions that lead to confrontation and builds her city art branding model on the basis of globally responsible eco-social management (ESG) of people, organizations and territories: “I am growing my wonderful innovations from world traditions for the benefit of all sentient beings. I invite you to go through the path of transformation, leading the Planet from the absurd to the outdated cultural approaches through the state of insight "there is something in it" that Rutherford spoke about. And since creativity remains a mystery, I offer support in the development of cultural brands for you, your organizations, cities and all territories of the Planet in my White Swan Workshop. Together we will develop our creative “eccentricity” into the global magic of sustainable development of the Earth in the digital age. Let's hit the road!"
Alina Koroleva, PhD in Cultural Studies, Associate Professor of the Department of Philosophy nam ed after A. F. Shishkina MGIMO MFA of Russia, magazine editor-in-chief "Concept: philosophy, religion, culture"
Natalia Garber is a versatile person - a poet, writer, artist, author of many articles and methods of creative teaching, curator and lecturer of various projects and symposia, who has diplomas from European institutions in her arsenal. In general, her personality is extraordinary, active and striving for creative transformation of herself and the world around. Here I will focus on the art hypostases of Natalia's activiry. She has been working in the genre of drawing, watercolors and mixed techniques since the 1980s, and I can distinguish two types of creative thinking in her work. The first comes from the European tradition, with its interpretation of form and space, as well as the transmission of planes of being. The second follows from Natalia's serious passion for Eastern painting of meanings (se-i), mainly in the genres of natural landscapes with flowers, birds and animals. Presenting both types in digital formats, Natalia combines her painting with calligraphy, poetry and short prose, playing with the five primary elements - wood, fire, earth, water and metal. Deeply studying different cultures, Natalia Garber introduces their creative potential into the everyday life of the modern world and uniquely transforms global experiences into her graphics, painting and digital art. Her style of creativity heloes to open up the deep potential of the audience in realization of the the harmony and beauty of human and Planet nature.
Leonid Feodor, Honored Artist of the Russian Federation, Head of the Art Synthesis Section "Tetra-Art" of the Creative Union of Artists of Russia, Academician of the Russian Academy of Folk Art, laureate of the Pushkin Medal "Enlightener of Enlightenment" 2016, winner of the Gold Medal of the Russian Academy of Arts 2018 and the Russian Book Art Prize 2018, head of the Museum of Russian Culture and art project of cultural cooperation "Most"; 2020
I really like to learn, and I learned a lot from you. Our Art association "The Path" has now won a Presidential grant to promote young artists of Bashkiria. And communicating with you in Moscow, I structured all my thoughts about the future and understood how to move creative projects into the world. I was shocked by the simplicity of the idea of listing important companies in our republic who would be interested in promoting their brand in the republic, the CIS and the world with the help of our Creative Association. In general, you have generated so many ideas that I still need to think about them, give time to my plans to rest in a new context. But I had a 100% sense of perspective. I understood how to show my region to the whole world as an example of interethnic and interfaith community, how to attract the diaspora to the development of the republic, how to make creative people ambassadors of the brand. And your idea of representing Bashkortostan in our projects as “European Asia” has integrated everything, thanks!
Victoria Samarina, chairman of the Creative Association of Artists of Contemporary Art “The Path” (Bashkiria), member of the Russian Association of Art Critics, curator of the project “China through the eyes of Russian artists” and the Bashkir art contest “My Small Motherland”; her works placed in collections of Russia, Serbia, France, Germany, Israel and China, winner of the art symposium “Industrial Park of Oil Painting” (Shanyou. China, 2018); participant of the workshop by Natalia Garber “Genius of the 21st Century: a success scenario for a true artist” at the Russian Art Week 2019
In order for mainland clay to become a plastic material for work, it must be cleaned of impurities and thoroughly kneaded. Something similar happens when you start recording your stories. I have long been telling tales and occasions, but in communicating with my dear Natalya I discovered a cross-cutting theme - this is “The Secret of Creativity”. Natalya provoked a cycle of my autobiographical short stories, helped outline his composition and unifying structure. As a result of our meetings, the mechanism of long sensory memory worked for me, I wanted to keep the intonation of my stories in writing. I began to gain experience in written fixation, to grow a “tree of work”. Referring myself to fatalists with a keen ear to the voice of fate, I think now that the time has really come to give my stories, etudes, and short stories, handwritten forms. Any work already exists, you just need to accurately guess the time of its birth. Focus, without forcing events, without losing sensations and details - and write down.
Arina Daur, illustrator, member of the Russian Union of Artists in St. Petersburg; her works placed in collections in France, USA, Finland, her exhibitions were held in Japan, Latvia, Canada and France (in the Council of Europe); founder and leading teacher of St. Petersburg Society of Masters of Calligraphy, Monotype and Silhouette, organizer of the International Monotype Festival "Poetry of Image" (Moscow-Helsinki-St. Petersburg); client of the individual course of transformational storytelling by Natalia Garber in Pushkin mountains, 2015
From the first meeting, a sensation of a powerful energy charge was felt, movement, desire to understand, understand, identify and realize.
They began to analyze the works of the Great. Why is that called? Why is it so arranged? What did the author want to say? Where is he in this, where is the viewer in general, and where am I? They were looking for means of expressiveness: due to what is the picture "catchy"? The most difficult thing is to take the place of the author and feel the same as him. And if it works out, you see the truth.
We got to our own work. Conducted a similar analysis. He began to look at his works in a different way. He clearly outlined his priorities, built a hierarchy of goals, understood what he was writing for. Further ... they built the work in a certain sequence, found the relationship and development, the movement of the hero in the paintings of the entire exhibition. Incredibly, new themes, new meanings arose.
The work with the title carries a deeper essence, the title gives the direction of thought, showing the viewer what to look at and how to think. It is important that one looks through the eyes of the other. The interconnection of people with different perceptions of reality is bearing fruit. This helps to understand yourself, to extract the truth that was the root cause of the birth of the work. The analysis of facts helps to understand the means of expression, which form the individuality of the author and his works.
Evgeny Yachny, professor at the Faculty of Painting, St. Petersburg State Institute of Painting, Sculpture and Architecture. I.E. Repina, laureate of the Young Talents 2010 Prize of the Government of St. Petersburg and the 2012 Prize of the exhibition of the Union of Artists of St. Petersburg “Youth of St. Petersburg. The Beginning ”, participant of the School of Small Prose and Poetry by Natalia Garber in St. Petersburg, 2013
Well, I've read your email a number of times and it's made me think a lot, which is nice, because most emails don't do this!
You are obviously highly perceptive and you've hit a few targets there. Yes, I probably am a bit less happy than I was ten or twenty years ago. We have a horrible expression in English, 'to cast pearls before swine': well, I certainly don't think of other people as swine (indeed a notable defect in my character is an almost total inability to judge other people harshly or feel superior to them), but I certainly do feel more and more that most of my work is wasted. I produce good ideas that I'm genuinely proud of, but I'm unable to push them into the world. I don't have a platform where people can hear me speak, I don't have influence or power to execute my best ideas, and the powerful people I offer them to are usually too unimaginative or too afraid to execute them. So I'm not exactly unhappy but I am feeling increasingly frustrated and impatient. I'm now 51 and I feel as if I've grown in wisdom and understanding and ability and goodness but not in influence, and that's not a comfortable feeling.
Really, I can't contemplate new partnerships or new books or cooperation. Cooperation just doesn't work for me, sadly: I've tried it a few times and it's been disastrous, utterly disastrous, and I've sworn to myself and to my family that I will never, ever try that experiment again because it made us all miserable... And my 'business' works very well the way it is - just me on my own. It's a very delicately calibrated piece of machinery which I've spent more than 20 years refining, and every time I try to introduce a new person into it, it falls apart and it takes me months to repair the damage.
I am going to think very hard about what you say about poetry. I'm not sure that I understand you absolutely, but what I do understand gives me an agreeable feeling of a possible route to liberation: to find a way of escaping the 'science' of workable policy into the 'art' of poetry or philosophy or ethics or culture - that's a nice thought. And of course art affects people far more deeply than policy does. Policy is fundamentally boring and doesn't elevate the soul. Elevating the soul - mine and others' - is what really motivates me, if I'm honest.
Thank you for your thoughts which are very precious. We'll speak again, I'm sure.
Simon Anholt, January 9, 2013, guru of national branding, political consultant of 55+ presidents of the Planet, Nobels Colloquia Prize for Economics Leadership laureate. After my interview with him @ the Moscow Urban Forum in December 2012 I considered his project a rating of successful egoists. So I asked him to close his global ranking of brands of cities and countries in favor of the rating of countries, caring about the Planet according to Vernadsky's biosphere-centric vision. Simon did that and opened the Good Country Index, which measures countries' investments in the development of the Planet. Simon's TED talk about Good Country Index received 7.5+ million views.