1972 born in Baku in the family of artists
1980 moved with parents to S.Peterburg
1984 moved to study to Moscow
1987- 92 studied in private artistic studios 
of painters V. Kiereev and A. Ponomarev 
(Moscow) and in private artistic school of 
V. Sodomov (Moscow)
1991- 99 start to work as a book illustrator 
in publish house "Sirius" (Moscow)
1993 Member International Art Foundation (Moscow)
1993-94 studied in jewelery school (Moscow)
1997-99 worked in France and Switzerland 
2008-2013 moved to work and live to Italy
since 2013 lives in Germany

1991-2014 permanent collaboration with 
different authors as a book illustrator



1992 "Atrium Gallery", Berlin (Germany)
1993 seasonal spring Exhibition of Union of 
Artists, Moscow (Russia)
1993 Exhibition in State Exhibition and Trade
Center "Na Kashirke", Moscow (Russia)
1994 Italian-Russian Exhib. of International
Art Foundation, Moscow (Russia)
1995 "Moon's Strolls" Exhibition in Gallery
"Art and World", Mezeres (Switzerland)
1995 "Dreams of butterflies" Exhibition in
Gallery "Baumettes", Lausanne (Switzerland)
1997 "Dreams of butterfly" Exhibition in State Museum of Easten Art, Moscow (Russia)
2000 "Art Dynasties of Russia" Exhib. in State
Museum of Arts and Crafts, Moscow (Russia)
2009 Permanent Exhib. Gallery "VM" (Italy)
2010 "Silentium", personal exhibition in State 
Museum "Negrisin", Muggia (Italy)
2011 "Ali", Exhibition, Gallery "Rittorio Tribbio" Trieste (Italy)
2012 "Vienna Time", Exhibition in Museum of Applied Arts, Vienna (Austria)
2013 "Mystery of Art and Time", Gallery "Archides", Salzburg (Austria)
2014 Permanent Exhib. in Gallery "Archides"(Austria) 

Works are in private collections in UK, France, Germany, Italy, Switzerland, Austria, Canada, USA, Sweden, Holland, Russia

About Victoria Merki


"Victoria Merki was born, as they say, an artist by the grace of God–not least because she represents the third generation of a family of professional painters, sculptors and graphic artists. She had no issue with the choice of her future profession; engaging in art was as natural as breathing…


The art of Victoria Merki has  an amazing and rare feature – a brilliant mastery combined with deep meanings and an interpretation of space, constructed from a variety of dimensions, as if illustrating ‘the structure and endless labyrinths of the human soul’ with abysses of its passions and heights of its spirit. …
“When the invisible becomes visible? The origins of creativity are hidden from prying eyes… When a drawing becomes complete, I am no longer needed. This entertaining game can continue indefinitely. To stop in time – that seems to be my goal,” Victoria says."

Historic of Art and Art Critic, Doctor J. Markin - Moscow

 "Lonely figures, sometimes with wings. Spirits, angels or elves? Slim silhouettes,bearing the imprints of individuals – evidence of their invisibility, otherworldliness. The lack of minor details contributes to the hypnotic concentration at the myth inside the picture, the color symbolism is animating the space. Burning stones, purple twilight, black crystals of emptiness… Pictures are perceived as strange slices of minerals, oil and acrylic relief reinforces this analogy. One feels like a visitor to the “mineral cabinet” in Hradcany castle or the “metallotheque” in the Vatican. Beryl, heliodor, ruby… It’s interesting that the ancient geognosts, when naming the minerals, often used the wording “angel wing”…

There are paintings of different nature. Pillars of Heraclitus. Angel with a sword. In front of you is a crevice that permeates the Earth through. All rivers flow down there, and from there all of them originate.
According to art critics, Victoria Merki achieved spectacularly good results in her free improvisations on the topic of the Universe. The typical feature of this kind of space is its animalism, mobility and symbolic richness in every detail. In exotic architectural motifs, in the ornamentation of fantastic characters’ garments, within the enchanting surroundings, one can always observe an encrypted configuration of the human body, eyes, and hands in a spiral–the symbol of eternity.

After a striking first impression of any of Victoria Merki works you might well want to gaze at it for a long time, carefully considering its amazing and wonderful details. Her painting and drawings were presented in museums and galleries all over Europe.
The purpose of the line  - to erase unnecessary words. We can say nothing about the finished drawing, we can only marvel at it like at  the life itself. As life appears out of nothing, these images live in a void sheet. They have enough support points, references to the top and bottom, a boulder under one’s feet, a maple leaf.
All that wanted to become the background, goes inside the loop. Landscape is refracted in the folds of garments. The present and the past, present and possible are crushed and transformed into a stuffing for images, breaks down into a variety of plans and prospects, where the traffic  is ghostly  and the volume is transparent. A hand extended to the surface falls into the space, the sight tracing the outline falls into the depths like Alice down the rabbit hole. But the image stores the distinctiveness and the integrity.

The image is the horizon of this world, cast out of the void. The image gives a measure of the stability of the selected set of interpretations, but the stability of a given point of view. In keeping with the movement of the human experience – at least in the space of thought – it opens a different picture. The horizon is always there, but by itself it can not be described and needs to be abstractly defined in relation to the viewer, so the image is valuable by the measure of its the credibility of its presence (expression) and the inconclusiveness – the equivalence of an infinity of other possible images. Such a system of values equals one-sidedness (pathos, odium, nihilism, etc.) to the destructive factor, in a line too bold for a delicate drawing.

And so, on the verge of the grotesque, but with love for each movement of the pen, the game with images is played; its conditional purpose – to provide an infinite number of scans of the world, but not in the flesh but in kind, not in order to assure oneself, but to marvel as if at the life itself"

Text prepared by Dr. A.Shildbach (Doctor of Art History – London)


Victoria Merki about Art

-Your works seems to be spiritual influenced, why?
"It looks like it was not an accident that finally I've become a mystical or magic (as they say) realism artist when I started in 1991 to illustrate astrological calendars. My heightened interest in all things esoteric and mystic has its roots in my childhood. This means that mystic or esoterica for me is not something completely detached from ourselves but is an integral part of our daily life..."

-To make such detailed works seems to be very hard job?
"Overcoming material…Once realized, that your brush, pencil, pen becomes an extension of your hand... there are defiantly no more obstacles between your creative imagination and the canvas, paper, clay or any other materials that inspire you." 

-What means mystic for you?
"We define for ourselves the mysticism of events and the degree of such mysticism. Incredible sets of circumstances, unexpected revelations, wonderful insights, hunches, dreams... deep mystical experiences - all these are an exclusively intimate and personal process. I would say that our reality is mystical in its original essence; trying to separate mystics from reality is a completely fruitless exercise leading into the pseudomysticism... or pseudorealism… when my inner reality merges with the external - for me this is possibly the unconditional Mysticism...

It is our perception of ourselves in space and time in each successive moment... is the realisation that our external life is just the visible result of the inner life…I am sure, we call "paranormal" those situations that we just can not yet explain..."

-What do you think about contemporary art?
"Well....the contemporary art is a desperate attempt to escape the rationalism that has ruthlessly occupied all areas of modern life...Direct attack on the area of feelings is met - naturally - by resistance in the artistic environment.  As we know, the strength of action is equalled by the strength of counteraction. Therefore, the stronger is the pressure of rationalism, the stronger is the reaction of the irrational. Possibly here lies the secret of the obvious return of the contemporary art to "primitivism". This is a response to the rigid structuralism of the modern society..."