Alena Koziol
LandE scape
CONTEMPORARY ART REVIEW myself. And perhaps this artwork became the real translator of my emotional state. And when I look at it now, I can say with confidence that I was like a paper airplane in the dark- something fragile and weightless, trying to follow his trajectory, but unable to withstand the wind. But now I understand that I found the strength to return to myself. This is really important for me- be myself. As a person and as an artist.
You allow an open reading, a great multiplicity of meanings: associative possibilities seems to play a crucial role in your pieces. How important is this degree of openness?
Of course, in the fine arts the form is always more important than the contents. But I can ' t let me do my work completely empty. For me it ' s important to create an associative variety. Also, in many of my artworks I try to find a balance of the meaning and the relationship between line and color. I want to say that art has the power. And the fine art is aimed at interaction with the audience. It is able to respond to time and changes in society, gives the ability to find an emotional response in the viewer, helps to encourage thought or action. And very often a simple plastic language and a simple plot help to achieve an active dialogue with the audience, while one meaning superimpose to another like the layers of paint.
We would like to pose some questions about the balance established by colors and texture: your pieces combine vivid tones and contrasting shapes that in TOLEDO accomplish the difficut task of establishing tension and a provocative dynamic. We have really appreciated the vibrancy of thoughtful nuances that saturate your canvas and especially the way they suggest the idea of plasticity. How did you come about settling on your color palette? And how much does your own psychological make-up determine the nuances of tones you decide to use in a piece and in particular, how do you develope a painting’ s texture?
By nature I am an introvert and is prone to soul-searching, which in turn can lead me to a depressive mood, and melancholy. At a young age, I was lumped in my internality, I existed outside the world. In some of my earlier works it is really can be seen by way of certain color combinations. At that time I often used a dark blue, black, gray and dark green. Over time, the outside world has become clearer to me, I learned how to communicate with it, to respond to what is happening around me. And it affected my basic palette. In general, it has become more diverse. I have become bolder in using contrasting colors. At the moment, there are at least two colors, which I use for many artworks in greater or lesser degree. There are natural umber Leningrad and celestial blue. Now they are for me a kind of base like themselves heaven and earth. In any case, work with each individual picture is always individual. The palette is directly dependent on what the general feeling I seek to convey. And on the way to the desired result, sometimes I break my own rules. For example, TOLEDO in a certain way
39