LandE scape
Alena Koziol
CONTEMPORARY ART REVIEW
meanwhile , would you like to tell to our readers something about your process and set up ? In particular , would you tell our readers something about the evolution of your style ? In particular , are your works painted gesturally , instinctively ? Or do you methodically transpose geometric schemes from paper to canvas ?
Yes with pleasure . So , while I was studying I was lucky to to try a few techniques and the beginning of my artcareer I preferred the graphic art . My works were monochromatic , and picturesque , I also experimented with texture , but they have always been done on paper . But at some point I was taking in hand the oil again . The first picture of the new technology was the painting " Paper airplane ". And now I really like this material , and I feel very comfortable working with it . Also , over time , I changed my approach to the process of creating the paintings . I began to work more gesturally . I never make preliminary sketches , and begin to write directly on the canvas . The colors , the composition , it is already in my head . And if during the work something starts to embarrass me , I change it simply , whether the correction of the drawing or color change . It is extremely rare before the begin work , I do pencil sketches on paper , and more often than not to miss the idea that came to my mind . It is rarely , when I do pencil sketches on paper before I start working . Usually I do this , to remember an idea , which came to my mind . If you know , in Russian language the word " art " comes from the word " temptation ". So every new work for me - it is a new temptation it is a question to which I ' m looking for an answer by the choice of materials , techniques , color palette . That is why I am not able to replicate even the most successful of my works . As for the style in which I experiment and evolve more than 10 years , I would define it as a " plastic realism ". At various times , I adapted the reality of more or less objectively , at one moment partially returning to realistic forms , at the next refusing them . Abstract environment , which for some time worked with the figure , and later step forward and become an independent element of the image . Not long ago , the figure returned to my oeuvre and now I ' m looking for new ways of integrating the various stylistic devices .
For this special edition of LandEscape we have selected PORTO and PAPER AEROPLANE , a couple of interesting works that our readers have already started to admire in the introductory pages of this article . What has at once captured our attention of your captivating investigation about the relationship between your painting and the actual places you painted is the way you provided the visual results of your analysis with autonomous aesthetics : while walking our readers through the genesis of PORTO and PAPER AEROPLANE , would you like to tell us something about your usual process and set up ?
PAPER AIRPLANE is totally the artwork of of my fantasy , it appeared as if by itself , but it have some thingness . Earlier I often portrayed environment , without a basis in reality . I took as a basis is not a specific place , and an overall plan that can exist in principle . With PORTO it happened otherwise . The inspiration was
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