ART Habens Art Review // Special Issue ART Habens Art Review - Special Issue #89 - Page 146

ART Habens Irena Romendik I try to be true to what I see and experience, and to avoid intrusions of learned stereotypes into my drawings. When I draw human body, it’s a particular formation of breathing flesh and bones soaked in lite and saturated with life force. To non-artists, drawing is often understood as replicating or representing what is seen -- photorealistically capturing shape and contour, composition, outlines, and shadows in space. While mastering various representation techniques may be part of skill-building, drawing is a "flexible instrument," a developmental tool, a way of mapping thinking that can be meandering, improvisational, or highly structured. We often find that mechanical photographs of us fade in comparison with child drawing in capturing likeness. For me drawing is a process, and not a thing or an entity. When I draw dance, I’m dancing with it -- spinning, falling, jumping, flying, fast and slow, slow and fast -- just like the song in recent William Kentridge’s Refuse the Hour, so true. Very early in my practice, I was influenced by Ukrainian Luchism (literary, “sun-rays- ism”), and Russian Formalism of the early Soviet era, naive icons of forgotten Ukrainian villages with their penetrating eyes, Velasquez of course, Egon Shiele, beautiful colors of Rajasthan textiles, the language of lace, and the cadence of Japanese Rimpa paintings. Sumi tradition taught me to appreciate colors in monochromatic renderings. Even though it might not seem as a direct influence, I Special Issue Unconscious Syntax of unnerving Smiles relate to works of David Hockney, William Kentridge, and Gerhard Righter. I feel like Iannis Xenakis’s music had similar influence 23 4 05