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16.08.2011- 16.09.2011, Exhibition “Sea Dream”, POU Dom na žalu, Preko, Island Uglijan, Croatia


Poštovani,

čast nam je pozvati Vas na otvorenje izložbe slika Morski san - Sea Dream,

akademske slikarice Oksane Veber iz Čaške republike

u utorak 16. kolovoza 2011. s početkom u 19,00 sati

Gosti večeri su:

pjesnik dr.sc. Robert Bacalja i VIS Stella Maris.

There are different sources on which we feed in our quest for peace, equivalence and harmony. Artist Oksana Veber founds harmony in the beauty of the landscape, still life, woman's face, which, transferred into the harmony of colors and forms continue they life in art work. Guiding her through the need for equivalence and exploring themes like peace, harmony and emptiness, the artist – influenced by the ideas of Taoism and Eastern philosophy - transferred her longing and revelation on the canvas. From her first works to the present days she developed her work relayed on that same philosophical thought, developing her work by changing it through different styles and exploring the medium of painting and yet modulating it according to her spirit and inspiration she founds inside herself. Female portrait is main motive in most of the paintings. It is usually shown as sensual figure, with full lips, almond eyes, and slightly tipped head, that leads us in world of dreams and fairytales. Two paths lead us when we follow this mystic. One has roots are in Jugendstil (Art Noveau) and further  in art of Japan that was inspiration to Jugendstil, and in Russian fairytales that we can find in work of Chagall, and the  other in tendency toward harmony in choosing colors that evoke Kandinsky and Marc. Artist settles her characters on the background defined with colorist effects, that are, unlike in her early works when they were much expressive and with vivid tones, tranquil and given in pastel tones of blue-gray combination and beige in gradations. Colors, painted in wide brush-strokes combine anintrusivly and melt one in another, making abstraction that in some works could be defined piece in manner of abstract expressionism. On that background painter successfully adds figuration with tiny, playful black lines that give sparkle to meditative tranquility of background and open space to a new story. Much more than in early works now appear double portraits or even more characters on one painting. To former motifs of landscapes and dreamy female figures author adds new inspiration – motif of birds, fishes, music instruments and pottery that she brings in correlation with main subject. She paints them like the main motif with the same, almost calligraphic, brush-strokes and intensifies some silhouettes fulfilling them with color. In adding those motives, although they bring their own poetry, we can feel transfer to greater opening to the world. Now characters are not so alone, closed up in their dreams and wrapped in shroud of mystic, on contrary, they have opened path forward observer through subtle communication with objects it is surrounded with.

Koraljka Alavanja                                                                

England, Eastbourne ''Room № 9'' Gallery.

Oksana Veber paintings.

       Every one of us longs for peace, equivalence and harmony, and turns to different sources in order to come close to this – sources such as natural beauties, meditation, exploration of spirit or sound. The painter Oksana Veber finds her peace in the beauty of landscape, still nature, portrait of a woman, which, transfused into a harmony of colours and shapes, continue their life as an inspiration for a work of art. Guided by this urge for equivalence and investigating themes such as peace, harmony and emptiness, the artist explored Taoism and eastern philosophy and transferred her longing and revelation onto the canvas. The echoes of these influences can be recognized primarily in the painting approach that the artist uses to create background for her figures, defined only by colouristic effects.

            In her earlier works the colours are expressive and powerful, then they slowly mellow down into pastel shades of blue-gray and ochre in gradations, only to almost disappear into monochrome of warm nuances of gray infiltrated by whiteness as a light effect in her most recent cycle. Colours applied in wide brushstrokes and unobtrusively combine merging into an abstraction, which, in some paintings, could stand as a complete work of art in the manner of abstract Expressionism. On this background, the artist draws figuration using thin, playful, almost calligraphic black strokes that gives sparkle to the background's meditative peacefulness and opens space for a new story.

            In most of her paintings, female portrait occurs as the main motif. It presented as a melancholic yet sensual figure with full lips, almond-shaped eyes looking down, head gently leaning, trapped in her dreamy, fairytale world. On one hand this secrecy is owed to the poetics that can be traced in Jugendstil or Vienna Seccession, and on the other to the Russian fantasy that we find in Chagall for instance. In her new cycle of works we are often find double or multiple portraits in one painting, but the figures do not communicate with each other, nor with the viewer neither by gesture nor by gaze; instead they open paths towards themselves by subtly communicating with the object of their attention – usually a musical instrument or a cat, a bird, a bowl with fruit. These also appear as the main motif, painted contourly by the same quick, skillful strokes of black line, with only some of the elements emphasized by colour.

            Moreover, in this exhibition the artist presents several of her landscapes. "Los Cristianos" is a powerful painting, painted in shades of brown with sharp, confronting strokes, as if it originated in the English Impressionism, while the other two are much more peaceful, with bluish tones and softer brushstrokes, evoking with their style the French Impressionism.

            From her first paintings until today, the artist has evolved her work using the same philosophical outlook and with the same motivation, changing it in style and exploring the painting medium by combining the influences of different art periods that she successfully adjusts to her own spirit and inspiration found within.

 Koraljka Alavanja 

Exhibition of Oksana Veber paintings at the Zadar Antic Glass museum, Croatia at 23th of November- 24th of December 2009.

"Ples sjena" (Shadows dance) features oil on canvas and cardboard works of mostly female portraits, landscapes and still life.

The dance of shadows.

There are different sources on which we feed in our quest for peace, equivalence and harmony. Artist Oksana Veber founds harmony in the beauty of the landscape, still life, woman's face, which, transferred into the harmony of colors and forms continue they life in art work. Guiding her through the need for equivalence and exploring themes like peace, harmony and emptiness, the artist – influenced by the ideas of Taoism and Eastern philosophy - transferred her longing and revelation on the canvas. From her first works to the present days she developed her work relayed on that same philosophical thought, developing her work by changing it through different styles and exploring the medium of painting and yet modulating it according to her spirit and inspiration she founds inside herself. Female portrait is main motive in most of the paintings. It is usually shown as sensual figure, with full lips, almond eyes, and slightly tipped head, that leads us in world of dreams and fairytales. Two paths lead us when we follow this mystic. One has roots are in Jugendstil (Art Noveau) and further  in art of Japan that was inspiration to Jugendstil, and in Russian fairytales that we can find in work of Chagall, and the  other in tendency toward harmony in choosing colors that evoke Kandinsky and Marc. Artist settles her characters on the background defined with colorist effects, that are, unlike in her early works when they were much expressive and with vivid tones, tranquil and given in pastel tones of blue-gray combination and beige in gradations. Colors, painted in wide brush-strokes combine anintrusivly and melt one in another, making abstraction that in some works could be defined piece in manner of abstract expressionism. On that background painter successfully adds figuration with tiny, playful black lines that give sparkle to meditative tranquility of background and open space to a new story. Much more than in early works now appear double portraits or even more characters on one painting. To former motifs of landscapes and dreamy female figures author adds new inspiration – motif of birds, fishes, music instruments and pottery that she brings in correlation with main subject. She paints them like the main motif with the same, almost calligraphic, brush-strokes and intensifies some silhouettes fulfilling them with color. In adding those motives, although they bring their own poetry, we can feel transfer to greater opening to the world. Now characters are not so alone, closed up in their dreams and wrapped in shroud of mystic, on contrary, they have opened path forward observer through subtle communication with objects it is surrounded with.

Koraljka Alavanja                                                                         November 2009

„Shadow dance“, Ancient Glass Museum Zadar, Zadar,  Wednesday, 25. November 2009

"Shadow dance" Museum of Acient Glass Zadar, Croatia. "Ples sjena" : likovna izlozba Oksane Veber 23.11.- 24.12. 2010.- Zadar Muzej antickog stakla, 2010.- Plakat- fotokopija (u boji), 42 x 29,5 cm

Wednesday, 25. November 2009

 Croatian Times 

Intrigantan 'ples sjena'

Piše: Ante Rogić

25.11.2009.

Foto: Sebastian GOVORČIN

"Ples sjena" naziv je izložbe Oksane Veber otvorene u ponedjeljak navečer u Muzeju antičkog stakla, u sklopu obilježavanja 'Dana Grada Zadra'. Uz autoricu u otvorenju izložbe sudjelovali su Ivo Fadić, ravnatelj MAS-a, Radovan Dunatov, pročelnik Upravnog odjela za kulturu i šport, i Koraljka Alavanja, likovni kritičar.

Okupljene je pozdravio ravnatelj MAS-a, istaknuvši zadovoljstvo što Muzej slikovnom izložbom ove autorice može uveličati proslavu Dna Grada Zadra i blagdan Sv. Krševana.

U svom osvrtu, prikazanom u katalogu koji prati izložbu, Koraljka Alvanja ističe kako Oksana Veber harmoniju pronalazi u ljepoti krajolika, mrtve prirode, portreta žene, koje se pretočene u harmoniju boja i oblika nastavljaju kao inspiracija za nastanaka umjetničkog djela. Vodeći se tom težnjom za skladom i istražujući teme kao što su mir, harmonija i praznina, nastavlja Alavanja, umjetnica je istraživala Taoizam i istočnjačku filozofiju te je svoje nagnuće i otkrivenje prenijela na slikarsko platno.

"Od prvih radova do danas umjetnica je kroz istu filozofsku postavku i motive razvijala svoj rad mijenjajući ga stilski i istražujući slikarski medij kombinirajući utjecaje različitih umjetničkih epoha te ih prilagođavajući vlastitom duhu i inspiraciji koju pronalazi u sebi. U većini slika kao glavni motiv pojavljuje se ženski portret. Prikazan je najčešće kao senzualan lik, punih usana, bademstih očiju, blago nagnute glave, koji nas uvodi u svijet jedne snovitosti i bajkovitosti. Takvu tajanstvenost daje joj s jedne strane poetika kojoj se mogu pronaći korijeni u Jugendstilu, odnosno Bečkoj secesiji, te onoj još daljoj koju taj stil vuče iz umjetnosti Japana, a druge strane u ruskoj bajkovitosti kakvu nalazimo primjerice kod Chagalla, te težnji za harmonijom u odabiru boja koje prikazivaju Kandinskog i Marca. Svoje likove slikarica smješta na pozadinu definiranu samo kolorističkim efektima, koji je za razliku od ranijih mnogo ekspresivnijih i snažnijih tonova, u njezinom najnovijem ciklusu slika utišan i naznačen pastelnim tonovima vrlo česte kombinacije plavo-sive i okera u gradacijama. Boje su nanesene širokim potezima i vrlo se nenametljivo kombiniraju i pretapaju jedna u drugu tvoreći apstrakciju koja bi u nekim djelima mogla opstojati kao dovršeno djelo u maniri apstraktnog ekspresionizma. Na takvu pozadinu slikarica vrlo uspješno dodaje figuraciju tankim, razigranim potezima crne boje, što meditativnoj mirnoći pozadine daje živost iotvara prostor za novu priču. Mnogo više nego u dosadašnjim radovima pojavljuju se dvostruki portreti ili čak veći broj likova na jenoj slici.", stoji u katalogu koji potpisuje Koraljka Alavanja. Prilikom otvorenja istaknula je kako "dosadašnjim motivima krajolika i snovitih ženskih likova autorica dodaje i novu inspiraciju - motiv ptica, riba, glazbenih instrumenata te staklenih posudica, za koji je motivaciju pronaša upravo u Muzeju antičkog stakla, koje dovodi u suodnos glavnim motivom. Slika ih kao i glavni motiv istim, gotovo kaligrafskim potezima te naglašava bojom kojom ispunjava pojedine obrise lika. U dodavanju tih motiva, koje iako unose svoju poetičnost, možes e osjetiti jedan pomak ka većoj otvorenosti svijetu." Alavanja je istaknula kako će sama djela reći više o sebi.

Radovan Dunatov istaknuo je kako "Oksana Veber donosi svoj talent u naš grad i daruje nam ga, te mi prihvaćamo taj talent".

- Ove slike svijetle iznutra svjetlošću žene, a izvana odlučnošću muškarca, što daje cjelokupnog čovjeka, kazao je Dunatov i izložbu proglasio otvorenom.

Exhibition of Oksana Veber paintings in tourist office in Kukljica, Croatia at 2-30th of September 2009.

Online izdanje
Srijeda, 25.studenog 2009.

Kultura

Povratak

Priča o ljudima, moru, stvaranju...

Piše: Ante Jaša

06.09.2009.

Oksana Veber i Venko Mavra na otvorenju izložbe u Kukljici

Došavši u Kukljicu krajem ljeta 2006. godine sa skupinom likovnih umjetnika ondašnjeg saziva Likovne kolonije, Oksana Veber naslikala je nekoliko slika uljem na platnu na kojima je otočki ambijent. Od tada svakog ljeta dolazi u Kukljicu i ovdje ostaje duže vremena na ljetovanju, a tu njezinom slikarskom radu nastaje jedan ciklus slika koji obogaćuje njezin slikarski opus.

Njene radove smo već vidjeli na skupnoj izložbi u Kukljici 2007. godine, a sada nam predstavlja jedan zaokruženi ciklus slika ženskih likova i otočkih krajolika. Osobito se ističu portreti koji su stopljeni s krajolikom i njegov su neizdvojivi sastavni dio. Krajolici i portreti na kojima su transparentno prikazane staklene vaze i amfore, očitavamo priču o ljudima, moru i stvaranju. Ovaj ciklus slika Oksane Veber ujednačen je tonovima boja, od plave do toplijih žutih i narančastih tomova. Na trideset i dvije slike u tehnici ulja na platnu slikarica je dosljedna svojem dosadašljem stilu figurativnog slikarstva.

Oksana Veber rođena je 1967. godine. Diplomirala je na Likovnoj akademiji lijepih umjetnosti u Kijevu, Ukrajina. Radila je na oslikavanju prostora velikih građevina. Svoja djela izlagala je na tridesetak izložbi u dvanaest država diljem svijeta. Sada živi u Pragu u Češkoj i djeluje u likovnim udruženjima.

Izložene slike su velikog formata i dobro su upotpunile izložbeni prostor Turističkog informativnog centra u Kukljici. U nazočnosti turističkih djelatnika i članova kulturnih društava iz Kukljice, o Oksani Vever i njenom boravku u Kukljici govorio je Venko Mavra, zahvalivši se autorici na suradnji, te je izložbu proglasio otvorenom. Izložba se može razgledati svakog dana, sve do kraja rujna.

06.09.2009.

Oksana Veber Paintings Graphics Exhibition in Galerie Portyc, Pisek Czech Republic the 19th May – 12st June 2009.

Improvisation of the artist Oksana Veber.

The Creative development of Oksana Veber is found to be endlessly enriching. From her first academic paintings, up until today, is to be found light, lyrical, refined fantastic works. In her creative activity she develops ideas and criteria of the painting and thematic practicability of her artistic style.

           Her first Personal exhibition in Prague, has definitively confirmed her artistic and emotional legitimacy, and the formation of her artistic style is open to further development. The paintings of "Oksana Veber" gives certain burlesque beginnings to the scenic action, involvement in the play, in whimsical world dreams, where reigns free improvisation of the fairy-tale plot, and the final of the play is open for guesswork and suggestions.

The liberally flowing lines of her subjects emphasizes even more so the randomness of the scenes and actions, even moving beyond the edge of the canvas. These live improvisations carry in themselves special dynamics and create the sensation of fragility and careful attention. The Asymmetric edge of the drawing with bright scenic action reminds one of the unforgotten part of ones night dream, or plucking a page from the manuscript in the library of doctor Kalahari.

      Veber’s inherently expressive style creates a kind of Gothic feel to the subjects she deals with. She sees the other side of things and their interlocutory with ambience, aptitude to transition and mutation and emotional change. Sometimes, (unexpectedly) in the plot of her story, there penetrates the world, phantasmagoric and frightening. Just like Gofman or Gogol, it is present in the plot layers of the canvas. Sometimes, in warm and vague mirage, there begins to ooze, as from the early morning mist, the first contours of the images unfolding. From this absolutely colourful ambience, where it is not necessary to separate the four elements, but where they are present all together, suddenly appears through the contours of the feminine body one more element - an element of desire and passion.

Specifically, it is necessary to note the main heroin of the Oksana Veber paintings - waiting, dreaming, in the surroundings of the city, seaside, home, emphasizing her feminine grace and movement. Sometimes, barely audible, there is an air of solitude and  imagined communication, awaiting the arrival of somebody else.

This is conveyed by the use of a door standing ajar or a dimly lit candle or a round table with a chair set expectantly beside it.

The Artist possesses the childlike ability to see and notice the birds, fish, rabbits, cats, and brightly colored flowers blooming from a vase.

Like a candle burning through the night, melting into its candle-holder, like the facial expression of a person, made to relax by the God of night dreams - Gipnos, the subjects in her works are shaped by the emotional expression that is formed by the internal heat coming from them.

The beginning of the night mystery is felt in the plot of the narrative of her pictures; the shade, cat, door opened slightly in darkness, measured approach         absorbing passions. The Deep desire, eroticism, ability of the subject to merge or conflict and divide them, vital dualism - persuasively dominate in her work. The Presence, the departure, the arrival  of the woman - her denuded body from the dreams, from forgotten epochs of the romantic era, the world of the alchemist and the violinist from the music box from the times of Amadeus Mozart. The Body of the woman is interpreted by the smooth and confident lines, more and more gravitate to the formula, sign, expressive, music, reminding one of a treble clef.

Herewith often appears the sea - as a ghostly motive, memory-dotted line, flowing around the contours of the subject, the contours of the bodies.      

In all picturesque and graphic work Oksana Veber underlines free arrangement, improvisation, jazz harmony in any one of the  instruments, leading its and the general themes. The freedom and sonority color and pliability, modern rhythms and the forms figuratively complement each other, forming inimitable and light creative style of the artist.         

Dmitrij Korcyn                                        

Here is the link for last number of magazan Terra Nova with the artcle about Veber Oksana.
They also placed a painting on the back cover.
Take a look...
Zagon/PDF-Temp/N25-July-2007/

В живописи и жизни я ищу выражение красоты. Когда видишь то, что вызывает ощущение красоты и гармонии это притягивает и завораживает. Я с детства по сегоднешний день люблю наблюдать движение в природе, могу часами сидеть на дереве у оврага, встречая первые лучи солнца и провожая клочья тумана медленно уползающие по траве.
Гармония линий тела женщины, гармония в пейзаже, натюрморте. Цвет и линия, это волебство дающее вдожновение. Передать свое чувствование гармонии на холсте это моя задача.
Картины часто приходят ко мне во сне, сочетание цветов, композиция все так реально, надо только успеть сделать наброски, пока видение (образ) не раствориться в повседненом.
Когда я пишу жиопись, приходит особое состояние полета, эйфории. Процесс живописи сладок как искушение, но случается что когда в изнеможении закончишь работу, наступает как прозрение после влюбленности и холст больше не радует, если не достигнуто то, что шептала фантазия.

Bulgaria Balcik Art Exhibition 2007, Artworkshop.

International Art Program in Bulgaria.

1 page, Art magazin "Les Cahiers de la peinture" n. 363, France 2002.
Visite d'exposition.