When you gaze at a painting by Evgeny Lushpin, you’re not just seeing a cityscape—you’re stepping into a suspended moment. Rain-slicked streets glisten like mirrors, golden windows glow like memories, and familiar urban corners seem transformed into cinematic tableaus. Lushpin, whose evocative style blends realism with romantic atmosphere, is one of the most celebrated contemporary painters working today.
His piece Flatiron Rain, which graces the cover of this issue of The Strand Magazine, captures not just the architectural grace of New York, but the hidden poetry of the city in twilight. In this exclusive interview, Lushpin speaks with us about his artistic journey, the role of narrative in visual art, and how Flatiron Rain became the perfect match for a publication built on mystery, storytelling, and timeless allure.
Q: How would you describe the inspiration behind the piece that was selected for the cover of The Strand Magazine? Was it part of a larger series or concept?
Evgeny Lushpin:
Flatiron Rain was inspired by my fascination with urban landscapes that seem to carry their own memory—like echoes of untold stories. I’ve always been drawn to New York, especially places like the Flatiron District where history and modern life collide so vividly. This piece is part of a larger thematic series exploring iconic cityscapes drenched in atmosphere—rain, dusk, twilight. These settings allow me to highlight both beauty and mystery, which I believe resonate with the narrative tone of The Strand Magazine.
Q: Your artwork has a distinct style. Could you walk us through your creative process and how you approach a new piece from initial concept to completion?
Evgeny Lushpin:
It begins with a feeling—an emotional atmosphere I want to convey. I collect references, often walking through cities or studying photographs to absorb the mood of a place. Then I sketch loosely, imagining the lighting and reflections first. I layer color meticulously, often glazing multiple times to achieve that luminous, glowing effect people associate with my work. It’s a blend of technical precision and emotional intuition. The narrative evolves as the painting develops—it becomes a window into another world.
Q: How does it feel to see one of your works featured on such a prominent publication as The Strand? Was it surprising, or did it hold particular meaning for you?
Evgeny Lushpin:
It was both humbling and exciting. The Strand has a legacy of storytelling, and for them to see a story in my visual work felt like a meaningful alignment. I was genuinely surprised—but pleasantly so. There’s something poetic about my painting, which is silent, becoming part of a magazine that gives voice to stories. It was as if the piece finally spoke in a new language.
Q: Do you usually create pieces with editorial placement in mind, or do you work independently and let the artwork find its own home?
Evgeny Lushpin:
I create independently. My goal is always to follow a vision, to bring a certain scene or mood to life. I never know where a piece will end up—sometimes a gallery, sometimes a private collector, and now, a magazine cover. That unpredictability is part of the beauty of being an artist. I never tailor my art for a specific use, but when it finds a home where it resonates, that’s a special kind of reward.
Q: What do you think it was about Flatiron Rain that resonated with The Strand’s editors? Do you feel it aligns with the magazine’s literary and visual identity?
Evgeny Lushpin:
I think Flatiron Rain captured a moody, cinematic atmosphere that echoes the essence of The Strand—mystery, intrigue, and a strong sense of place. My art often hints at something beyond the frame, much like how a good story lingers beyond the final page. There’s a tension between light and shadow in my work that mirrors the emotional nuance found in the stories The Strand publishes.
Q: Your artwork often communicates a strong sense of narrative. How important is it for you to convey emotion or story through your work—especially when it’s being used in a literary context?
Evgeny Lushpin:
It’s essential. Even though my paintings don’t use words, they should still speak. I want people to feel like they’ve stepped into a moment where something just happened—or is about to. In a literary context, that becomes even more powerful. It primes the reader emotionally, immerses them before they even begin the story. That’s the magic of combining visual and written art.
Q: Can you share a bit about your background and how you came to this particular style of art?
Evgeny Lushpin:
From an early age, I was captivated by light—the way it bounces off wet pavement or glows through windows at night. Over time, I developed a love for capturing the warmth and nostalgia of cityscapes. While my early work explored different themes, this particular style emerged as a natural fusion of storytelling, memory, and technique.
Q: What kind of reaction do you hope to evoke in viewers—particularly when your work appears on something as visible as a magazine cover?
Evgeny Lushpin:
I hope they pause—even briefly—and feel a sense of familiarity or wonder. Maybe they see a place they’ve been, or imagine a story unfolding in that scene. On a magazine cover, especially one like The Strand, I want the artwork to invite curiosity, to be a doorway into the literary world inside.
Q: Are there particular artists who’ve influenced your vision? How do those influences show up in your work today?
Evgeny Lushpin:
Edward Hopper has been a great influence—his ability to express solitude and narrative in seemingly simple scenes is something I admire deeply. Also, Rembrandt, especially in his use of light and detail, taught me how to bring technical discipline into emotionally charged work. You’ll see their echoes in my precise composition, my obsession with atmosphere, and my devotion to mood.
Q: What are you currently working on? Any exciting projects on the horizon?
Evgeny Lushpin:
I’m currently developing a new theme for an upcoming gallery show in France. Right now, I’m focused on a night scene along the old town on the French coast. I can’t reveal more just yet, but details will be available soon on the website—unless you happen to be in Nice before then!
Be the first to comment