LandE scape
CONTEMPORARY ART REVIEW
LandEscape meets
Alena Koziol
An interview by Katherine Williams, curator and Josh Ryder, curator landescape @ europe. com
Artist Alena Koziol ' s work establishes a channel of communication between reality and imagination to challenge the relationship between the viewers ' perceptual parameters and their cultural substratum to induce them to elaborate personal associations, offering them a multilayered aesthetic experience. Her paintings condense emotion and memories, as well as tarces of reality wisely combine with a captivating abstract feeling. One of the most impressive aspects of Koziol ' s work is the way it accomplishes a successful attempt to invite the audience to partake in her inner experience. We are very pleased to introduce our readers to her stimulating artistic production.
Hello Alena and welcome to LandEscape: before starting to elaborate about your artistic production would you like to tell us something about your background? You have a solid background and you received a classical education in the field of fine arts. As a student, you also joined the Youth Association of the Union of Artists of Russia. How did these experiences influence your evolution as an artist?
Hello! I’ m very glad to be here. I think that my experience is directly influenced me. Education has given me what I find the most important for an artist – it is the foundation, the base, which makes it possible to move forward, to get professionally. Creative environment, drawing skills, the study of art history, knowledge of the rules of composition and regular practice make it possible to further experiment with your own style, work carefully and self-critically, to be able to analyze art. I ' m still grateful for some of his teachers and curators for the fact that they gave me. I think that each of them to a greater or lesser degree has helped me in time of formation of my personality. I really feel sad because in today ' s world, some artists neglect the academic knowledge and experience of past generations. They believe that it is not necessary, if you create abstract works. This leads to the prosperity of dilettantism and disorients the viewer. So in general I hold to very conservative opinion about education in the arts. For example, it is difficult to imagine that it is possible to achieve professional growth in a modern ballet, without the classical school. Even if
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