Ajouté le 28 juin 2005
Improvisation of the artist Oksana Veber.
Dmitrij Korcyn, art critic of BZ Art Union. 1998 year.
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 moreso 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 Kalligari.
Vebers’ 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 coloured 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 colour and pliability, modern rhythms and the forms figuratively complement each other, forming inimitable and light creative style of the artist.
1988 Dmitrij Korcyn