CONTEMPORARY ART REVIEW

SUMMARY

C o n t e m p o r a r y A r t R e v i e w

I create abstract landscapes, images that respond to my concerns of a hopeless future and of post nuclear predictions- reflections on present state of humanity, seeming progress and selfdestruction. Much of my work is a contemplation on personal feelings surrounding being unable to exist in such absurd environment. The diverse character of my works is a reaction on a surreal situation of a modern world that has been shaped by mass media, where anyone can create their own reality and portray this as images and words of‘ truth’. The different layers, shapes and techniques I use in my work represent the various versions of the‘ truth’. The diversity of chaotically ordered aggressive forms and vibrant colours, illustrate negative emotions- thoughts caused by impossibility of finding that‘ truth’.

LANDSCAPES( Woodless Woodcuts) are a series of digital art works that express my love of the natural world and provide a graphic visual diary of my travels across the globe. All of these images began as analog or digital landscape photographs. I have had a lifelong love of Japanese wood block prints. As a child, I was exposed to prints by Hokusai, Hiroshige and Hiroshi Yoshida. My mother( born and raised in China and Japan) had original prints by all of these artists which were on the walls of our New York City apartment from the time of my birth. I spent many years as a traditional and experimental printmaker, starting at age fifteen with wood and linoleum block prints. I moved on to stone lithography, etching, photo etching, photo silkscreening and cyanotypes. The toxic chemicals associated with these methods helped me transition into the digital realm. Photoshop saved my health and has been my digital darkroom ever since then. I have been using Photoshop since Version 2( June 1991). Most of these landscape images have been turned into a cross between woodcuts and photographs, though no trees were harmed in the production of these artworks.

I find is that there are multiple perspectives that appear- not even intentional- and the painting experience becomes a detective game where there is this relationship with the picture itself speaking back to me. This happened with The End of Time. When you turn it sideways, it’ s a close up frame of the center of the painting. I didn’ t do that on purpose and it freaked me out when I realized it. I started doing dyptichs and tryptichs because the paintings were telling me to connect them and it was again this two way communication collaboration. It is always a fine line of overthinking, and of devolving into telling rather than embodying. Between traces of accepted reality with the freedom that comes with abstract expression, I aim for the marriage of the 2 and it’ s that fine line that actually defines for me whether the painting is finished or not. but am not always successful in this because it’ s really hard and once you go over the line of over painting- which is over thinking something- then you may be stuck with a painting for 20 years trying to find what it is you are looking for.

In my practice the real-unreal relation is investigated at the point when this two worlds meet and mix in your mind. The moment of tension when they face eachother is the most interesting to me. This is the while when at the first sight everything looks fine, but you just have found something is wrong on this picture. Like it rains against gravity, water is orange and the trees crosses sky. To build such a situation, emotion and memory play a crucial role since they are connected both to real and unreal world at the same time. Especially memories and in particular the process and the result of remembering and forgetting things. I use the figurative representation in order to underline the abstraction. I believe the more recognizable the elements are, the clearer is the abstract situation they are part of. However, this is an constant looking for a balance, and that ' s why I like it.

Creating art takes me back to my childhood- that time when you admire water drops which sparkle in a sunny ray; seek funny characters in a rug; giggle over your puddle reflection and smile when a gentle wind tickles your cheeks. A time when you are happy-go-lucky, sensitive, almighty, and sometimes naive, but always genuine. I am an eternal child and art allows me to maintain this state of being. I love to be in nature- to hug trees, absorb astonishing color combinations with my fibers, to examine bird coloration, membrane of leaves, which is full of moisture... I relish a beauty of a fruit pulp, a whisper of ocean sand, scents of forest … I’ m a part of nature- Its disciple and the art tool. Every time I examine my finished art works, I am pleasantly surprised that they were created by me! The Radiant Thread,’ tells a story about an engrossing journey to my subconscious to find my mission on Earth. During the whole journey, I watched myself from the sidelines, immersed in my memories, and explored dreams.

Fine Art Photography for me is an amazing method of selfexpression and sharing the rich world of emotions with the viewers. Creating the emotional and unusual photographs, editing them and looking at the finished prints delights me! My first goal is to create unique photographs, which let the viewer’ s eyes linger on the picture. The second goal is the high quality of the image. All prints with smooth tones and rich colors are made with care in the professional lab which creates the highest quality professional photo products, including prints, canvas prints, metal prints, thin wraps, acrylic prints, wall displays, and more. Smart Flora is a photographic body of work that I began in the 2014-th, inspired by my love of flowers, beautiful lines, curves and textures of the flora. Besides of that I find inspiration in women’ s portraits, soft and cozy daylight, interesting shapes, shades and pleasing music. The only instrument I use for creating photographs is my smartphone.

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