Alena Koziol
LandE scape
CONTEMPORARY ART REVIEW was raining , but the wind was blowing very warm . In the sky was circling of seagulls , it seemed that I was in the past , because was so fabulous atmosphere . In an antique store , I found a small etching , which shows the bridge in the past , when the upper deck of the bridge was by cars . And at that moment I was wanting to paint this symbol as something static , while around it all is changing . It became the hero of my artwork , only it and nothing else .
You draw a lot from natural and urban environment and the landscapes that you paint never play the mere role of backgrounds : how would you define the relationship between environment and your work ?
While I work often more specifically with the human figure , I like to depict schematic environment , flat , giving preference to the texture , the interaction of colors and shapes . Works BARCELONA . PORT OLIMPIC and GRANADA . SACROMONTE are not exception . And although they are made in different techniques , they are united by a common idea . They are worksimpression . But this is not the impression which the Impressionists sought to convey in his works . This impressionmemory . This is something that the passage of time , interacting with the emotions transformed into something abstract . Before I went on a tripI spent three days in the port of Barcelona , and I lived on a boat . And every morning I woke up in the sunny Port Olimpic , and before my eyes are brought water and masts , staring into the sky . The motive of these cross masts is really ingrained in my mind . When I came to Granada , I had only one day to walk around the city . It was a very full day , which I spent in the Sacromonte . This gypsy district , where people still live in the same caves , where once was born the art of flamenco . What I remember about Sacromonte ? White stone walls , green rural fields , a long road up the mountain , and the cross on the mountain and the sound of the river at the foot of the city . All this formed as a mosaic in one painting .
The way you to capture non-sharpness with an universal kind of language quality marks out a considerable part of your production , that are in a certain sense representative of the relationship between emotion and memory . How would you define the relationship between abstraction and representation in your practice ? In particular , how does representation and a tendency towards abstraction find their balance in your work ?
It is important to bear in mind that emotional memories themselves are abstract . When we return to them , we do not see in front of us a frozen image . We are located in a living space filled with light , sounds , smells etc . Just as our brain processes the received information , I tried to create a certain character maps , diagrams are consisting of simplified but recognizable images which can return me a certain emotional state over and over again . And this resort to the abstract forms , it seems to me , is the best way to achieve the desired effect and to cope with the task .
While your pieces do not reflect reality , it seems that your draw from direct experience and you traslate your
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