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"Shadow Dance" exhibition in Museum of antique glass, Zadar, Croatia, 24.11.2009

clanci/25112009/intrigantan-ples-sjena

Intriguing 'Dance of shadows'

Author: Ante Rogić

25.11.2009.

Papers can see all 24 December"Shadow Dance" is the title of the exhibition Oksana Veber open on Monday evening at the Museum of antique glass in the celebration of 'Day of Zadar. With the author in the opening of the exhibition participated Ivo Fadić, director of MAS, a Radovan Dunatov, Head of Department of Culture and Sport, and Koraljka Alavanja, art critic.

The crowd welcomed the Director-MAS, the satisfaction of pointing out that the pictorial exhibition of the Museum of authors can magnify the celebration Bottom of Zadar and the feast of St.. Grisogono.

In their reviews, shown in the catalog accompanying the exhibition, points out that Koraljka Alvanja Oksana Veber finds harmony in the beauty of landscapes, still lifes, portraits of women, which is converted into a harmony of colors and shapes will continue as an inspiration for the occurrence of a work of art. Leading to the desire for harmony and exploring themes such as peace, harmony, and the gap continues Alavanja, the artist is exploring Taoism and Eastern philosophy and its incline and revelation transferred to canvas.

"From the first works to present the artist through the same philosophical setting and motifs developed his work by changing the style and exploring the medium of painting combining the influences of various art periods and adapting them to their own spirit and inspiration that you find in it. In most image as the main motive appears female portrait. is usually presented as a sensual figure, full lips, bademstih eyes, head slightly inclined, which leads us to the world one snovitosti and bajkovitosti. Such secrecy makes her the one hand, poetics, which can be found in the roots of the Jugendstil, or the Vienna Secession, and to those still further by this art style draws from Japan, and the other in the Russian bajkovitosti find any example of Chagall, and striving for harmony in choosing colors that are displayed Kandinsky and Marc. painter places his characters on the background defined only colouristic effects, which is Unlike many previous ekspresivnijih and powerful tones, in its latest cycle of paintings and muted pastel tones indicated a very common combination of blue-gray and ocher in gradation. The colors are caused to a very broad strokes and are combined and the seamlessly blends one into another, creating an abstraction that would Some works could survive as a complete work in the manner of abstract expressionism. On such a background painter successfully added figuraciju slim, playful strokes of black, which meditativnoj stillness background gives liveliness iotvara space for a new story. Much more than in previous works appear in the double portrait or even larger number of characters in the picture jenoj., "the catalog is signed Koraljka Alavanja. During the opening said that "current landscape motifs and snovitih female characters, the author adds a new inspiration - the motive of birds, fish, musical instruments and glass bowl, which is precisely the motivation found in the museum of ancient glass, which leads to the main motif correlation. Picture by as the main motive of the same, almost calligraphic strokes paint and stresses that meets the individual contours of the character. The addition of these motifs, which entered his poetry though, you will experience a shift towards greater openness to the world. " Alavanja said the work itself will tell you more about myself.

Radovan Dunatov said that "Oksana Veber brings his talent to our city and gives it to us, and we accept that talent."

- These pictures bright light inside a woman and a man outside determination, which gives the whole man, "said Dunatov and declared the exhibition open.

The exhibition can be viewed by 24 December.

clanci/25112009/intrigantan-ples-sjena



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 October 2010

7214, Marina, 60-80 cm, oil-canvas, 2007

"Gleaming Summer" AmCham in association with the ARTEast gallery, Kiev Ukraine 2001

The Summer Is Not Yet Over
Skirting August 17 and running through October 17, AmCham in association with the ARTEast gallery will be hosting a new art exhibition entitled "Gleaming Summer" by Oksana Veber. Oksana Veber was born March 31, 1967 in Barnaul, Russia, in the Altaj Region. At 9 she moved with her tamily to Chernihiv, Ukraine where she lived until entering an art college in Briansk, Russia at 15. She would have continued her education in art in Moscow, but after the Chernobyl disaster in 1989 she returned to her home in Ukraine out of concern for her family. Oksana studied at the Kyiv Art Academy from 1989-1992 but never graduated because of the birth of her son.
Oksana has been drawing for as long as she can remember. After receiving her education in art, Veber has done a variety of jobs from mak­ing stained-glass window to working in computer design. She has partici­pating in exhibitions since 1987, but only over the past 5 years has she been become more actively involved in such activity, as well as holding personal exhibitions in Kyiv, Prague, and Denmark. Works of this young artist can already be found in prestigious galleries in Kyiv and Prague and private collections in many countries including the USA, Germany, France, Italy, and South Africa.
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 Daocism and other Eastern philosophical ideas with themes such as peace, har­mony, and emptiness. 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.
Despite her fruitful career as an artist, it seems that Oksana is only beginning to realize her creative potential. The time she spent in Prague, the past four years spent as a student of psychology, and interaction with different artists and their works have greatly inspired her to explore new themes through her paintings and develop as a person. Veber is planning to open personal exhibi­tions first in Ukraine and then in other countries of Europe on human interaction and its transforming effect on the person.

Gleaming Summer" AmCham in association with the ARTEast gallery, Kiev Ukraine 2001

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

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

Tečaj vrijedi od 22.09.2011. KULTURA OBJAVLJENO 18.08.2011. / 09:52 h
U PUČKOM OTVORENOM UČILIŠTU, U PREKU
„Morski san“ umjetnice Oksane Veber


Autor: Martina Sikirić - VOX GLAS ZADRA
U Galeriji Pučkog otvorenog učilišta Dom na žalu u Preku otvorena je izložba slika naziva Morski san-Sea dream akademske slikarice Oksane Veber iz Češke Republike.
U sklopu otvorenja nastupile su članice vokalno instrumentalnog sastava Stella Maris, a pjesnik dr. Robert Bacalja pročitao je svoju pjesmu «Nova besida o veloj kobotnici na punti ključa».
Kosta Kostov, organizator programa Međunarodne likovne kolonije Jadertina na kojima je sudjelovala i autorica otvorio je izložbu.
Koraljka Alavanja, povjesničarka umjetnosti se osvrnula na izložbu istaknuvši da svatko od nas teži za mirom, skladom i harmonijom, a da autorica mir pronalazi u ljepoti krajolika, mrtve prirode, portreta žene, a koje se pretočene u harmoniju boja i oblika nastavljaju kao inspiracija za nastanak umjetničkog djela.
U ranijim radovima kolorit je ekspresivan i snažan, zatim se lagano utišava i prelazi u pastelne tonove plavo-sive i oker boje u gradacijama, da bi u najnovijem ciklusu boja gotovo iščezla, kazala je povjesničarka.
- Boje su nanesene širokim potezima, te se nenametljivo kombiniraju i pretapaju tvoreći apstrakciju, koja bi u nekim djelima mogla opstojati kao dovršeno djelo u maniri apstraktnog ekspresionizma. Na takvu slikarsku pozadinu slikarica tehnikom crteža tankim, razigranim, gotovo kaligrafskim potezima crne boje stvara figuraciju, što meditativnoj mirnoći pozadine daje živost i otvara prostor za novu priču – navela je.
Ante Brižić, direktor Turističke zajednice Općine Preko zahvalio se autorici što je odabrala otok Ugljan odnosno Preko za postavljanje svoje izložbe. Izrazio je zadovoljstvo što upravo u spomenutim područjima Oksana pronalazi inspiraciju.
Autorica je uz zahvale svima istaknula kako se na otoku Ugljanu osjeća kao kod kuće, te da je postao njen drugi dom.
Oksana je rođena u Atlajskoj regiji u Rusiji, diplomirala je na Likovnoj akademiji lijepih umjetnosti u Kijevu. Iza nje su brojne samostalne i skupne izložbe

In fact, I am somewhat disinclined to viewing any exhibition showcasing works of let’s say, more than five or perhaps seven artists. And this is often because the standards vary – considerably, if not drastically at times.
Also, collective exhibitions in Malta tend to be a mishmash or hotchpotch – a quasi bazaar of sorts – where artists contribute one or more pieces to a “cause”. But they often do so blindly: there is rarely a common theme, subject or concept binding the works. And what exacerbates the matter is the consistent lack of venues which can cater for a large number of artworks in a variety of mediums.
And that is why Women In Art: A Collector’s Perspective is an altogether different kettle of fish. Rather, it is an experience; one to write home about.
The subtitle of this show also sets the kind of standard which viewers should have come to expect from Joseph Simon Gauci – a man who has successfully expanded his framing and art consultancy business known as The Picture House to incorporate So Galerie.
When the gallery opened, in May 2010, I was at first sceptical of the location – Iklin isn’t exactly a hub of artistic activity – however, during the couple of hours I spent there on my last visit, I was impressed by the steady flow of people coming, going, browsing and... buying.
Yet, purchases do not necessarily equal success. And with as many as 60 artworks on show by no less than 18 artists, there was much that could have “gone wrong” in this exhibition. But, it didn’t.
Save a couple of works (literally) which I felt were a tad too “traditional” or commercial for this exhibition – standards and quality was remarkably maintained throughout.
There is a more-than-healthy mix of works by foreign and Maltese artists alike and mediums vary from bronze, ceramics, paintings, photography, mixed media works and, most interestingly, furniture design (collaborative pieces by Picture House and David Pisani). Although individual styles couldn’t be more different, there is still a flow of line and colour.
Mr Gauci did well to disperse and scatter the works throughout the gallery space (and beyond) and to do away with more obvious chronological or individual artist groupings. The latter “method” was only utilised in the few instances in which works are related in genre and series, such as those by Beppe Mora or Oksana Veber.
Out of the entire collection, particular works and artists to look at are the sexually-charged tongue-in-cheek paintings by hyperrealist Roland Delcol; a photographic narrative of a cross-dresser’s transformation by Celine O’Donnel; David Pisani’s “peep show” photographs; Beppe Mora’s crude linear drawings; Liliana Fleri Soler’s elongated bronzes and Matilde Montanari’s headless pubescent girls.
So Galerie’s first show last year (A Sight to Sea: Coastal Recollections, works by David Pisani) was quite impeccably curated. That is not to say otherwise of this exhibition, but Mr Gauci took a bold risk in combining “traditional” methods of gallery display with those generally associated with home or interior decoration. Thus, there are ceramics, sculptures and paintings dotted around the first and second floors, with quite a few pieces even found in Mr Gauci’s upstairs living quarters. However, the placing, spacing and general exhibition set-up allows for a level of “intimacy” whereby visitors might be more inclined to engage with the artwork rather than simply revere it.
I especially loved the decision to place two of the works in the gallery floor’s restroom – apparently Mr Gauci was inspired by Chris Briffa’s art space in Strait Street’s public convenience. Thus, the daring quirkiness as well as the collection’s eclecticism meshed with the clean and stylish lines of the gallery only helped win points in my books.
But restrooms apart, the exhibition apparently talks about beauty. Or at least that is as much as I have read insofar. Prof. Alessandro Liberto in his critical analysis in the exhibition catalogue discusses how “The innovative collection presented here is one of those extraordinary expressions of... feminine beauty”. Well, frankly I reject the idea that a discussion about the female form or women in art should automatically revolve around beauty – idiosyncratic or sublime. That is a discussion pertinent to all forms, genres and subjects in the visual arts. According to French phil-osopher Jean Rostand “Beauty in art is often nothing but ugliness subdued”.
The image I hold of a woman in art is one of immense power – that of Artemisia Gentileschi representing Judith caught in the act of severing the head of Holofernes.
A woman can play temptress, seductress or even the manipulator just as much as she can be motherly, delicate and pure; for this reason I find it is almost a disservice to simply place women under the broad “beauty” category. I find it is a woman’s equal amounts of strength and fragility that truly captures her “essence”.
Beauty is a thing of power – one which might have served as an all-important tool to many a great historic female figure throughout history. Yet, it is wise to bear in mind William Shakespeare’s words:
“Beauty’s a doubtful good, a glass, a flower,
Lost, faded, broken, dead within an hour;
And beauty, blemish’d once, for ever’s lost,
In spite of physic, painting, pain, and cost.”
• Women in Art: A Collector’s Perspective is showing at So Galerie, Triq Dun Karm, Iklin till March 2. Opening hours: Monday to Friday between 10 a.m. and 2 p.m. and 4 p.m. till 6 p.m. and Saturdays from 10 a.m. till 1 p.m.

Featured artists
Andrew Diacono
Antoine Camilleri
Antoine Paul Camilleri
Ashot Asatrian
Beppe Mora
Celine O’Donnel
David Pisani
Edvard Nikornov
Edward Caruana Dingli
Ignat Konstantinov
Liliana Fleri Soler
Matilde Montanari
Oksana Veber
Patrick Dalli
Pierre Giusti
Roland Delcol
Seyran Gasparyan
Vsej Tamazian

life/view/20110113/whats-on/daring-to-be-ruthlessly-eclectic
Published Jan 13th, 10:13
Daring to be ruthlessly eclectic
Lisa Gwen Baldacchino

Photo: Chris Sant Fournier
I don’t enjoy collectives... generally.
In fact, I am somewhat disinclined to viewing any exhibition showcasing works of let’s say, more than five or perhaps seven artists. And this is often because the standards vary – considerably, if not drastically at times.
Also, collective exhibitions in Malta tend to be a mishmash or hotchpotch – a quasi bazaar of sorts – where artists contribute one or more pieces to a “cause”. But they often do so blindly: there is rarely a common theme, subject or concept binding the works. And what exacerbates the matter is the consistent lack of venues which can cater for a large number of artworks in a variety of mediums.
And that is why Women In Art: A Collector’s Perspective is an altogether different kettle of fish. Rather, it is an experience; one to write home about.
The subtitle of this show also sets the kind of standard which viewers should have come to expect from Joseph Simon Gauci – a man who has successfully expanded his framing and art consultancy business known as The Picture House to incorporate So Galerie.
When the gallery opened, in May 2010, I was at first sceptical of the location – Iklin isn’t exactly a hub of artistic activity – however, during the couple of hours I spent there on my last visit, I was impressed by the steady flow of people coming, going, browsing and... buying.
Yet, purchases do not necessarily equal success. And with as many as 60 artworks on show by no less than 18 artists, there was much that could have “gone wrong” in this exhibition. But, it didn’t.
Save a couple of works (literally) which I felt were a tad too “traditional” or commercial for this exhibition – standards and quality was remarkably maintained throughout.
There is a more-than-healthy mix of works by foreign and Maltese artists alike and mediums vary from bronze, ceramics, paintings, photography, mixed media works and, most interestingly, furniture design (collaborative pieces by Picture House and David Pisani). Although individual styles couldn’t be more different, there is still a flow of line and colour.
Mr Gauci did well to disperse and scatter the works throughout the gallery space (and beyond) and to do away with more obvious chronological or individual artist groupings. The latter “method” was only utilised in the few instances in which works are related in genre and series, such as those by Beppe Mora or Oksana Veber.
Out of the entire collection, particular works and artists to look at are the sexually-charged tongue-in-cheek paintings by hyperrealist Roland Delcol; a photographic narrative of a cross-dresser’s transformation by Celine O’Donnel; David Pisani’s “peep show” photographs; Beppe Mora’s crude linear drawings; Liliana Fleri Soler’s elongated bronzes and Matilde Montanari’s headless pubescent girls.
So Galerie’s first show last year (A Sight to Sea: Coastal Recollections, works by David Pisani) was quite impeccably curated. That is not to say otherwise of this exhibition, but Mr Gauci took a bold risk in combining “traditional” methods of gallery display with those generally associated with home or interior decoration. Thus, there are ceramics, sculptures and paintings dotted around the first and second floors, with quite a few pieces even found in Mr Gauci’s upstairs living quarters. However, the placing, spacing and general exhibition set-up allows for a level of “intimacy” whereby visitors might be more inclined to engage with the artwork rather than simply revere it.
I especially loved the decision to place two of the works in the gallery floor’s restroom – apparently Mr Gauci was inspired by Chris Briffa’s art space in Strait Street’s public convenience. Thus, the daring quirkiness as well as the collection’s eclecticism meshed with the clean and stylish lines of the gallery only helped win points in my books.
But restrooms apart, the exhibition apparently talks about beauty. Or at least that is as much as I have read insofar. Prof. Alessandro Liberto in his critical analysis in the exhibition catalogue discusses how “The innovative collection presented here is one of those extraordinary expressions of... feminine beauty”. Well, frankly I reject the idea that a discussion about the female form or women in art should automatically revolve around beauty – idiosyncratic or sublime. That is a discussion pertinent to all forms, genres and subjects in the visual arts. According to French phil-osopher Jean Rostand “Beauty in art is often nothing but ugliness subdued”.
The image I hold of a woman in art is one of immense power – that of Artemisia Gentileschi representing Judith caught in the act of severing the head of Holofernes.
A woman can play temptress, seductress or even the manipulator just as much as she can be motherly, delicate and pure; for this reason I find it is almost a disservice to simply place women under the broad “beauty” category. I find it is a woman’s equal amounts of strength and fragility that truly captures her “essence”.
Beauty is a thing of power – one which might have served as an all-important tool to many a great historic female figure throughout history. Yet, it is wise to bear in mind William Shakespeare’s words:
“Beauty’s a doubtful good, a glass, a flower,
Lost, faded, broken, dead within an hour;
And beauty, blemish’d once, for ever’s lost,
In spite of physic, painting, pain, and cost.”
• Women in Art: A Collector’s Perspective is showing at So Galerie, Triq Dun Karm, Iklin till March 2. Opening hours: Monday to Friday between 10 a.m. and 2 p.m. and 4 p.m. till 6 p.m. and Saturdays from 10 a.m. till 1 p.m.

Featured artists
Andrew Diacono
Antoine Camilleri
Antoine Paul Camilleri
Ashot Asatrian
Beppe Mora
Celine O’Donnel
David Pisani
Edvard Nikornov
Edward Caruana Dingli
Ignat Konstantinov
Liliana Fleri Soler
Matilde Montanari
Oksana Veber
Patrick Dalli
Pierre Giusti
Roland Delcol
Seyran Gasparyan
Vsej Tamazian