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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                                        

TERRA NOVA
Журнал
www.muza-usa/Zagon/PDF-Temp/N25-July-2007/

№ 24 Июль 2007 - Художник номера

Художник
Оксана Вебер
(Украина - Чехия)
Оксана Вебер родилась в 1967 в алтайском городе Барнауле. В возрасте девяти лет вместе с родителями переехала на Украину, в Чернигов, где училась в школе. В пятнадцать лет стала посещать художественную школу в Брянске. Затем она училась в киевской Академии искусства и закончила ее в 1989 году.

Сколько себя помнит, Оксана всегда рисовала, а в выставках стала участвовать совсем юной, с 1987 года. В настоящее время ее работы можно встретить в галереях на Украине, в России, Чехии, Великобритании и США, а также в частных коллекциях по всему миру.

Картины Оксаны выражают ее увлечение таоизмом и другими восточными философиями и темами – спокойствие, мир, гармония и возвышенная опустошенность простоты. Среди работ последнего времени на эти темы преобладают женские портреты. Каждый портрет – это эссе, слепок мимолетного и, в какой-то степени, изолированного эмоционального состояния со всеми его неопределенностями и нюансами оттенков. Художник сдержанными и лаконичными линиями создает для нас легкие и запоминающиеся образы, заставляющие вглядываться в детали и впитывать в себя чувство свежести и гармонии.

Обычно картины Оксаны теплы и оптимистичны. Персонажи всегда смотрят вперед в ожидании новых эмоций – волнений, наслаждений, чувств... Утонченные краски, варьирующиеся от теплого древесного цвета до золота и мерцающей меди, создают атмосферу чувственности.

Оксана рассказывает о своем творчестве так: «В живописи, как и в жизни, я ищу выражение красоты. Когда видишь то, что вызывает ощущение красоты и гармонии, оно притягивает и завораживает. Я с детства и по сегодняшний 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 для меня – это гармония линий тела женщины, гармония в пейзаже, натюрморте. Цвет и линия - это волшебство, дающее вдохновение. Передать свое ощущение 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 растворится в повседневном. Когда я занимаюсь живописью, приходит особое состояние полета, эйфории. Этот процесс сладок, как искушение, но случается, что когда в изнеможении закончишь работу, наступает что-то похожее на прозрение после влюбленности, и холст больше не радует, если не достигнуто то, что шептала фантазия.»

Уже второй год Оксана участвует в международных программах хорватской художественной организации «Ядертина.» Идея этой программы состоит в том, что собираются художники из различных восточноевропейских стран и совместно отправляются в творческие поездки. Если в 90-е годы преобладали центробежные силы, то теперь, наоборот, мы наблюдаем тягу родственных культур друг к другу и творческое взаимодействие, лишенное всякой политики.

В этом году группа художников из Чехии, Хорватии, Болгарии, Украины и Австрии посетила несколько островов Адриатики, делая по пути небольшие выставки. Они общались с жителями, писали картины и просто впитывали своеобразную красоту Далмации. Продолжением программы было пребывание в Брушке в горах, где участники жили в монастыре и писали картины. Окружала их при этом дикая, нетронутая рукой человека природа и величественные горы, что очень отличалось от камерной уютной красоты островов.
По словам Оксаны, было прекрасно выйти из мастерской и отправиться в путь, полный сюрпризов. Встречи с художниками из разных стран, богатое общение, работа над картинами, совместное обсуждение и рождение новых идей.
«Подобные пленэры для художников, – это замечательная традиция, - говорит Оксана. -
Я надеюсь в будущем участвовать в пленэрах разных стран, расширить свою географию. Художник большую часть времени проводит один на один с холстами, как отшельник.
Подобные акции очень важны для смены точки зрения, переосмысления и движения дальше. Мы все - жители одного мира, и это нас сближает.»

Выставка-продажа работ Оксаны Вебер пройдет 28 июля в Сан Франциско и 29-го августа в Сан Хосе. Справки по телефону 408.857-7009 или email: .
Сайт художника:

My studio Beroun 25.07.07.

Newspaper Bulgaria Balcik Exhibition

Oksana Veber was born March 31, 1967 in Barnaul, Russia, in the Altaj Region.
Oksana has been drawing for as long as she can remember. After receiving her education in art, she has done a variety of jobs from making stained-glass window to working in computer design. She has participating in art exhibitions since 1987. Her paintings are in galleries and private collections in all European countries, USA, Australia, South Africa, Cyprus, Israel etc.
Oksana's painting style has undergone quite a transformation over the years. Her first paintings were landscapes. During this period her works reflect her fascination with Daoism and other Eastern philosophical ideas with themes such as peace and harmony.
Oksana Veber's later works convey the same ideas but through her portrayal of women. These charming paintings convey a warm and positive mood. The artist's use of subtle colors ranging from warm wood to gold and glimmering coppers creates quite a sensual aura.
Last 2 years she participate few art workshops in Croatia and Bulgaria. Oksana has expressed her own impressions from beauty of nature in art works. And as result we may see new collection of paintings denoted sea themes.

Les Cahiers de la Peinture n. 363, Paris, France, 2003
Les Cahiers de la Peinture n. 363
Visite d'exposition
Oksana VEBER

Un bel ensemble de peintures figuratives d'Oksana Veber (nйe en URSS en 1967 et йtablie а Prague) a йtй prйsentй rйœmment а la galerie Etienne de Causans (1) par M. Claude Zlotzisty, admirateur de l'œuvre de cette jeune femme peintre.
Dans ce travail, l'image de la femme est dominante, de sorte qu'on peut considйrer qu'elle est le thиme de l'exposition : une femme belle et svelte, aux traits fins, le cou long, le visage ovale, les yeux en amande, les lиvres charnues, les seins fermes. D'autres attraits sensuels sont suggйrйs pudiquement, tandis que des attitudes, des gestes de la main et l'expression des yeux expriment fortement la volontй de sйduire, mais il y a de la pudeur aussi dans cette expression. Dans la majeure partie des tableaux, la femme est au singulier. Quelques œuvres, trois, me semble-t-il, rйunissent deux femmes : Le Duo (des violonistes) ; Ouverture (deux tкtes de femmes et un cygne ; Vieux Miroir, seule composition figurant une tкte d'homme et une de femme). L'image du cygne se rencontre plus d'une fois dans les compositions, prйcisйe ou esquissйe, et cela porte а penser qu'elle vйhicule peut-кtre une allusion qui ne devrait pas кtre nйgligйe. En effet, elle compte comme un йlйment pertinent dans un ensemble de constatations qui appelle l'attention vers la musique. En mкme temps que l'on constate des occurrences du cygne, on remarque des titres qui renvoient a la musique: Duo, Chante violon, Ond'tne, Ouverture... S'y ajoutent des images du violon et d'une boite а musique (dans une œuvre intitulйe Une petite Citronnade, oщ la femme, les yeux bridйs cette fois, et la peau jaune, tourne la manivelle de la boite sur laquelle on voit une danseuse en tutu et un danseur, et en-dessous trois paires de dыmes du Kremlin). Le cygne associй а la musique йvoque spontanйment le quatuor а cordes de Tchaпkovsky, Le Lac des cygnes. Un gros coquillage marin est йgalement une figure frйquente dans les accessoires de composition, et l'on connaоt sa connotation auditive.


Los Cahiers do la Peinture n. 363

La portйe et l'inspiration poйtiques des œuvres de Oksana Veber se dйterminent ainsi sous et vers des rйfйrences musicales. Patite Citronnado, piиce dйcrite ci-dessus, pourrait кtre une allusion а la symphonie de Tchaikovsky, Petite-russienne, dйdiйe aux territoires ukrainiens.
Le tableau intitulй Ondine fait peut-кtre rйfйrence а l'opйra du mкme nom, du compositeur citй, qui par ailleurs a йcrit quelques Ouvertures, titre qui se retrouve dans le rйpertoire des tableaux de cette exposition... Il y a un tableau Inspirй par le Jazz et ainsi nommй, la femme y joue de la trompelte..
Les couleurs des tableaux sont chaudes, dominйes par des rouges et des ocres denses, convenant a l'йvocation d'une musique romantique.
Formйe en URSS (а Briansk, puis а Kiev) et en Tchйcoslovaquie communiste (в Prague), Oksana Veber appartient а la plus jeune gйnйration des plasticiens des pays de l'Est oщ il y a, comme on sait, des transformations йconomiques et culturelles, entre autres. Il est intйressant aujourd'hui de connaоlre les directions prises par la jeunesse de ces pays depuis le recul des options rйalistes socialistes pour les beaux-arts. A ce titre, dйjа, l'exposition rйcente (1) des peintures de Oksana Veber appelle l'attention. On sait, par ailleurs, que les arts plastiques de la Tchйcoslovaquie, oщ Oksana Veber est йtablie (sa production est reprйsentйe en galerie, а Prague, de faзon permanente) font l'objet en France d'un intйrкt soutenu depuis qu'on a fкtй en 2002 une saison tchиque qui a tenu l'affiche de mai а dйcembre, avec notamment les expositions Praga Magica а Dijon et Lanterna Magika а Paris.
Le travail d'Oksana Veber, quoique sa formation se soit accomplie а la fois а Kiev et а Prague, me semble plus inscrit dans une continuitй artistique tchиque que russe, car il contient des analogies avec l'art autrichien de la Sйcession de Vienne qui a attirй en son temps les artistes tchиques ; les Russes ne l'ont pas introduit dans les conceptions esthйtiques de la peinture proprement dite, car elle йtait dominйe chez eux par les vecteurs idйologiques du futurisme et du rйalisme socialiste, et car leur habitude dans l'intйrкt pour l'art йtranger est de porter leur regard surtout vers la peinture franзaise.

a Peintura n. 363

L'analogie des reprйsentations d'Oksana Veber avec le Jugendstyl des Viennois (dit Art Nouveau en France el en Belgique, et Modem Style en Grande Bretagne), qui fut un mouvement йtendu sur une grande partie de l'Europe, faisant valoir la compatibilitй du beau et de l'utile, se dйduit de l'exaltation de la courbe et la spirale, traits caractйristiques de son dessin. Elle se dйduit aussi de l'йmergence de ses tableaux d'un sens esthйtique йvoquant les arts extrкme-orientaux, caractиre connu de l'Art Nouveau
Tous les traits posйs par Oksana Veber sur le support pictural, pour reprйsenter les personnages ou les objets sont des volutes ou tendent vers cet aspect qui retrouve la forme lйgиre du signe chinois ou japonais.
Le choix d'un support de gabarit diffиrent de celui des formats standard de la
peinture occidentale, un gabarit de parchemin, rectangulaire, de petite largeur et de prйsentation verticale, compte aussi comme une analogie avec l'Art Nouveau : songer а Judith, de Gustav Klimt, qui a tenu l'affiche a Paris а l'occasion de l'exposition < Vienne 1900 » au Centre Georges Pompidou..
Il faut aussi se rappeler l'exemple du Tchиque Mucha, qui fut l'un des meilleurs reprйsentants de l'Art nouveau, pour admettre que la maniиre esthйtique d'Oksana Veber, telle que dйcrite, s'inscrit dans une continuitй artistique tchиque.
L'йvocation de la musique, commentйe ci-dessus, s'apprйhende comme une toile de fond ; elle donne aux tableaux un heureux complйment au caractиre Art Nouveau dont la reprise comme style de peinture contemporaine est rare en Europe occidentale, suite peut-кtre в la polarisation du mouvement des idйes dans un dialogue avec l'art des U.S. A.
L'ensemble exposй est de 2003. Quelques œuvres datent des tout derniers mois ; on y constate une йvolution vers la rйduction de la reprйsentation figurйe au profit d'une plastique gestuelle et un rapprochement de l'abstraction.
L'exposition a obtenu du succиs et Oksana Veber compte dйsormais un certain nombre d'amateurs parisiens de son art. Sa maоtrise de son mйtier, la force dйlicate de sa sensibilitй chromatique et la teneur poйtique de tout ce qu'elle peint sont propices в son йpanouissement et sa rйussite а Paris comme les cйlиbres peintres tchиques qui ont brillй au sein de l'йcole de Paris, Franзois Kupka et Georges Kars.

Mondher BEN MILAD

(1) L'exposition s'est dйroulйe а la Galerie Etienne de Causans, 25, rue de Seine, 75006 Paris, du 28 novembre au 5 dйcembre 2003.