Connectivity in Diversity
Born and based in Russia, Natalia creates beautiful evocative paintings of landscapes and dreamy sceneries which all represent different states of mind.
„Paint what you see…“
“Paint what you see, don’t see – don’t paint without feeling the nature’s sympathy. Look for something nearby, not nearby – don’t look for it…”, these lines, from the poem of the young Russian poetess, Olga Gensler, express my artist statement to the point.
My sketches are the transition states, half-states, emotion, which starts originating inside of me and grips me deeper and deeper. This is a happiness feeling that here and now, the captured moment in colour and even in the motion. I try to paint what I see and what I feel but at the same time I should heart it. This is a great importance to me.
The central image of my paintings is a landscape or precisely to say, an environment, which has something hidden in it. Either these are the flowers, the seacoast, the ballerinas or the night city, they always will be enclosed in some kind of a space for living.
In the series of the paintings dedicated to the ballet, such as “Sky waltz” (2016), “Marine” (2017), “In the ballet” (2017), in the images, which were caught, expressively taken from the life, I feel the life energy, the motion and the sound. One should not look for the concrete lines in the heroines of my works, except under a closer look one can sense the rustling of the ballerina’s dress and just audible touch of the feet on the marble floor. The air motion, not more. The delicate light creatures seem to be dissolved in the surrounding atmosphere becoming the blue shadows and the light haze.
How to paint the hot air of the seashore? To give a shape and to give a name to that blue that trembles and melts, when one looks at it from a bird’s eye view at noon in July. And the blue is so real, like all the rest, it is an inspired image – the painting “Blue deep” (2017). Knowing the strong effect of the light in this particular painting I strived to compound it of a few quite extensive color zones, where the blue tones prevail over the earth’s tones.
How to capture the impossible silence, the silence of the world? Such the silence that one could only imagine? I was concerned by this topic during the time of my work on the painting “In silence” (2016). So what is it, what cannot be measured? A splash of the water in the immeasurable space of the cold mountain lake, a concentration of the fisherman, whose attention stuck to the vibration of the line, a whistle of the seagull wing swishing through the air. An accented laconicism and a graphics, going back to the Chinese tradition, helped me to paint only the nature as a spiritual image.
On the contrary in the “flower series” I do not aim at the laconism but try to paint the variety of the colors combining them into the flickering and joyful complex compositions. The flower “portraits” are painted from nature in the natural angles and in the wind motions. I wanted for the viewers to see my flower paintings alive and with the elements of sentimentalism – paintings “Cornflower eyes” (2015), “Symphony of wild roses” (2016), “Spring rhapsody” (2016). After all the painted flowers will live for ever…
Nowadays my attention is focused on the unveiling the beauty of the world in its moments – the full-blown flower bud, the surf, the energy of a dance. These are the certain freeze frames, the elements of “slow living”, the moments, which are needed to be slowed down in order to gain much insight. And to paint the only thing, where one “feels the sympathy for nature”.