This page isn't a CV (or a resume), because I feel that a painter's quintessential resume is their body of work, not a written list of former achievements – if you would like to know me as a painter, the best way is to browse images on this site. You can also follow my work in one of the variety of ways listed on the contact page. Thanks to Google+ in particular, I now keep my studio door virtually open, so you can follow my work as it happens.
Still, there is some background information about me that, I feel, might be useful as a context for my work as a painter, which can be easily summarized in a CV-like format. So here it is:
- 2007-present (San Francisco Bay Area, California)
- Stanford University, 2001-2007
- Leiden University (2000-2001); University of Bielefeld (1996-2000)
- Institute for Linguistics in St. Petersburg (1989-1996)
- University of Bielefeld (1997-2000)
- University of St.Petersburg (1993)
- State Pedagogical University, St.Petersburg (1990-1994)
- Academic Gymnasium of St.Petersburg (1991-1996)
- Lena Levin. So long as eyes can see. CreateSpace (2012)
- Elena Maslova. A Grammar of Kolyma Yukaghir. Mouton Grammar Library, 27. Berlin, New York: Mouton de Gruyter (2003)
- Elena Maslova. Tundra Yukaghir. Munchen: LINCOM EUROPA. Languages of the World/Materials 372 (2003)
- Elena Maslova (ed.) Yukaghir Texts. Tunguso-Sibirica 7. Harrassowitz Verlag (2001)
- Post-doctoral qualification (Habilitation) in General and Comparative Linguistics, University of Bielefeld, Germany
- Ph.D. in Linguistics, Institute for Linguistics of the Russian Academy of Sciences, St. Petersburg, Russia
- M.A. in Computational Linguistics, University of St.Petersburg, Russia.
For other publications, and for a full linguistic CV, please visit my linguistic website.
- Workshops with Elio Camacho and Larry Robinson
- Several painting and drawing classes at University of Berkeley Extension
- Regional Art School in St.Petersburg, Russia
To learn more about my painting studies, please visit the "About" page.
If you were patient enough to read till this point, you might be wondering why I am listing all these things here, most of them seemingly irrelevant in the context of painting. Indeed, I considered them irrelevant myself for a rather long time (so this page is a later addition to the website, August 2012).
As I switched from linguistics to painting full-time about five years ago, I felt it had to be a clean break: I am a new person on a new Earth. But the more I work and make a painter out of myself, read about the history of painting and its contemporary state, refine my "voice" and my message – the further I am on this road, in fact, the more I feel that it doesn't really work like that.
The truth remains that I've been trained as an intellectual, an academic scholar, and have been living this fate, this vocation, this work for most of my adult life. These studies and this life are part of what I am, not to a lesser extent than my studio practice – and this is going to be so, I believe, so long as I live. Just as I needed a clean break into studio practice five years ago, so now I feel that the time has come for synthesis, for bringing together and unifying in my work everything I've learned and everything I've been.