World from the other side In the art of Nina Valetova one can see original adoptions as well as timely overcoming of postmodernist artistic language. She uses the concept of "double coding", having in mind the situations when the same piece of art carries in itself entertaining and fascinating information that is available for wide audience, and also contains a completely different message that is intended for elite intellectuals, for advanced and dedicated addressees. Here an analogy with ancient distinctions between esoteric and exoteric levels of understanding of texts and symbols can be seen, but then interpretation of the artistic figures would have their vertical spiritual dimension. Tendency toward true, instead of stylized, multilevelness is now more and more noticeable. The artist's painting appears as an open structure. The space itself is often multicentred even in the bounds of one composition. Frequently inside of the composition, linear, reverse, and some unheard-of combinatorial perspectives are combined. Unlimited diversity of color-light metamorphoses, original back and forth conversion of figural images and elements of abstraction, and so on, are observed. Significant, for example, is paradoxical interpretation of architectonic motives that is even separated to "irrational architecture". Here motives of iconic settlements, which are interpreted by no means canonically, and constructions of renaissance perspectivism, passed through the prism of European "metaphysical painting" of 20th century, are deconstructed and assembled into new, original, and strange integrity. Anyway, inside these small spaces of the painting, architecture is formed that is monumental in its own way, but is also certainly nonfunctional, absurd and irrational, that is what adds intrigue of riddle and fantastic expression to it. One could remember the architecture that is produced by madness in Borsches' "Immortal". In general, everything stable in the painting comes into motion, hard-congealed becomes metamorphously reversible to crystallize and again congeal in some metaphysical motionless magical form. General space itself is sometimes on a plane, without depth or perspective, hermetically closing on itself, and sometimes is as it was falling into some kind of cosmical bottomlessness with its clots of black holes and low-density areas of probable outlets into certain "other dimensions", which are mystical instead of physical. Unlike in radical "Vanguard" art, the plot is not ignored. The plot slips away, it is half ciphered, and therefore interesting with its multiple and ambiguous interpretations and ways of understanding. Concrete artistic solutions make a complicated alloy of forms that exclude indication of concrete sources. We will note that characters in the paintings are endowed with mysterious nontransparency of meaning, what makes them symbols, and this way they are joined to the Mystery. Being on the other side of all the evident historical canons and classical mythological characters, they are nonetheless appearing related to traditional mythology with its esoterism. All of this comes not only through cultural resources, which the artist has without doubt, but also through deliberately open channels of Subconsciousness and Unconsciousness. Archetypes, above character in their essence, require for their embodiment, on the opposite, clear individualization of themselves, as well as of their guide/artist, who is often, like a visionary, brings together his own artist's vision and Knowledge, or, in other words, sees the "World from the other side". This is not an accident that one of Nina Valetova's program cycles bears that name. Sergey Kuskov 2003
Biography: Born in 1958, Ufa, Russia A member of the International Arts Fund. Paintings in public and private collections in Russia, U.S.A., Poland, Denmark, and Germany. EDUCATION Institute of Arts, Ufa, Russia SELECTED EXHIBITIONS 2001 – ArtManege 2001, Manege, Moscow, Russia 2001 – Golden Brush 2001 exhibition, Manege, Moscow, Russia 1997 – “Anyway”, New York, New York, U.S.A. 1995 – Adkins Hoover Gallery, Dallas, Texas, U.S.A. 1995 – Arthaus Gallery, Dallas, Texas, U.S.A. 1993 – Craighead Green Gallery, Dallas, Texas, U.S.A. 1990-1991 – “Boulevard Gallery”, Copenhagen, Denmark 1983 – Republican young artists’ exhibition
Country: Russian Federation
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