ART CRITIQUE PLAYS A CRUCIAL ROLE IN THE WORLD OF ART. IT INVOLVES THE CAREFUL EXAMINATION AND EVALUATION OF ARTWORKS, ALLOWING FOR A DEEPER UNDERSTANDING OF THEIR AESTHETIC QUALITIES, CONCEPTUAL IDEAS, AND EMOTIONAL IMPACT. IT HELPS ARTISTS REFINE THEIR SKILLS, EXPERIMENT WITH NEW IDEAS, AND GROW CREATIVELY. BY PLACING ARTWORKS WITHIN THEIR HISTORICAL AND CULTURAL CONTEXTS, CRITIQUE PROVIDES VALUABLE INSIGHTS INTO THE ARTIST'S INTENTIONS AND THE BROADER CULTURAL SIGNIFICANCE OF THE PIECE.
I AM GRATEFUL FOR THE OPPORTUNITY TO HAVE MY ART CRITIQUED BY JULIYA SYSALOVA, AS IT HAS NOT ONLY ENHANCED MY UNDERSTANDING AND APPRECIATION OF MY OWN WORK BUT HAS ALSO EMPOWERED ME TO PUSH THE BOUNDARIES OF MY CREATIVITY. I HIGHLY RECOMMEND SEEKING ART CRITIQUE FROM KNOWLEDGEABLE AND EXPERIENCED INDIVIDUALS LIKE JULIYA SYSALOVA TO GAIN VALUABLE PERSPECTIVES AND TAKE YOUR ARTISTIC PRACTICE TO NEW HEIGHTS.
“BUT WHAT IS ART OTHER THAN REVEALING HUMAN NATURE?” ~ MARINA ABRAMOVIĆ.
LIORA REDMAN, A MIAMI – BASED ARTIST THROUGH CONTEMPORARY APPROACH TO PAINTING AND THE DECEPTIVE UNDERSTATEMENT OF IMAGES, CHALLENGES SOCIAL AND CULTURAL NORMS AND EXPLORES HER INNER WORLD AND FAST-EVOLVING REALITY AROUND HER, IN HER OWN UNIQUE WAY.
IT IS INTERESTING HOW CONTRAST WORKS HERE. EASTERN EUROPEAN BY ORIGIN, THE ARTIST FOLLOWS THE WAY FEMINIST THINKING HAS INFLUENCED THE ARTS SINCE THE 1960S IN WESTERN CONTEXT. RETHINKING ART FORMS THAT HAVE BEEN CREATED BY MEN, SHE EXPLORES THE FEMINIST MOVEMENT AND ITS MEANING AND HER ART IS SIMULTANEOUSLY AN EMBRACE AND A CRITICAL UNPACKING.
THIS IS HER EXPERIMENT AND A PERSONAL AND SINCERE ARTISTIC RESEARCH. SHE MANIFESTS TO REPRESENT ALL HUMANS AND THIS WAY NOT ONLY SHE RELATES TO A BETTER REPRESENTATION OF THE DIVERSITY OF GENDER, SHE ALSO REFLECTS ON HOW THIS CAN BE ACHIEVED.
SINCE THE IMPORTANT QUESTION IN HER ARTISTIC PRACTICE IS NOT ONLY WHAT SHE CREATES, BUT ALSO HOW IT IS DONE, HER ART IS ALSO AN ONGOING CONVERSATION ABOUT FORMS AND METHODS.
THE ARCHETYPE OF A CONTEMPORARY METAMODERNIST ARTIST GOES BACK TO THE AVANT-GARDE ARTIST OF THE BEGINNING OF THE LAST CENTURY. LIORA REDMAN IS CAPABLE OF MANY THINGS, BUT THIS FACT IMPOSES A GREAT RESPONSIBILITY: FREELY SYNTHESIZING THE STYLES, METHODS AND TECHNIQUES OF PREDECESSORS, SHE GIVES THEM NEW IMPULSES AND MEANINGS.
LIORA'S STYLE IS EXPRESSED IN THE CREATION OF IMAGES WITH SHARP BLACK CONTOURS AND THE SPACE INSIDE, FILLED WITH SIMPLE COLORS.
SHE USES REFERENCES TO MALEVICH AND MONDRIAN, AIMING TO CREATE A PURE, NON-OBJECTIVE ART. THAT IS WHY SHE ELIMINATES THE FACE AND OTHER RECOGNIZABLE FORMS. ON THE OTHER HAND, SHE BRINGS A HUMAN BACK TO CANVAS: FLUID LINES THAT CREATE MOVEMENT AND EMOTIONAL INTENSITY, A SENSE OF VULNERABILITY AND INTROSPECTION REMIND US OF EGON SCHIELE.
HER WORK HAS FEATURES OF POP ART, THAT HAS ADOPTED THE USE OF BLACK LINES AS CHARACTERISTIC OF JAPANESE XYLOGRAPHY: ROY LICHTENSTEIN'S COMICS, ON THE ONE HAND, AND JULIAN OPIE'S GIRLS, ON THE OTHER.
AT THE SAME TIME, THE ARTIST CONTINUES TO EXPAND THE BOUNDARIES OF "TRADITIONAL" ARTISTIC PRACTICE BY USING A FASHION DESIGNER`S SKETCHING.
THUS, THE ARTIST REVISITS A WIDE RANGE OF THE RECOGNIZABLE FORMAL APPROACHES, FILLING IT IN WITH HER TOTALLY PERSONAL AND EMOTIONAL EXPRESSION. HER ART PRESENTS ITS OWN SET OF CHALLENGES TO THE ARTIST HERSELF AND IN THIS REGARD BEING OPEN AND VULNERABLE IS HER CONSCIOUS DECISION. IT IS BASED ON THE NEED TO CREATE A DIALOGUE WITH THE WORLD WITH RESPECT FOR ONESELF AND FOR THE OTHER. THE OTHER FOR HER IS THE ONE WHO IS OPPOSITE OR, PERHAPS, THE OTHER IS HER INNER PART, WHICH SHE HAS TO PERCEIVE AND ACCEPT, IN ORDER TO FIND A PLACE FOR IT. THUS, HER CREATIVE INDIVIDUALITY RUSHES TO THE SEARCH FOR A PERFECT WORLD, WHERE EVERYONE CAN COEXIST, AND WHERE THERE ARE NO STEREOTYPES. HER NON-FACED REDHEAD FEMALE FIGURES ARE A SYMBOL OF EVERY HUMAN BELONGING TO A MINORITY IN SO MANY LAYERS OF LIFE. IN HISTORY REDHEAD WOMEN WERE OFTEN BURNED AT THE STAKE AS WITCHES, WHILE TODAY REDHEAD CELEBRATE AND EMBRACE AS A UNIQUE AND BEAUTIFUL PHYSICAL TRAIT. IN LIORA`S PAINTINGS REDHEADS, WHO ARE KNOWN FOR THEIR HIGHER PAIN TOLERANCE, SYMBOLIZE THE ARTIST`S SENSITIVITY TO CONTEMPORARY WORLD AND ITS PROBLEMS.
SHE MANIFESTS IT AS A WAY TO FOR ALL THE GENDER, THAT WOULD APPEAL TO THE PEOPLE OF THE NEW WORLD, GIVING THE UNDERSTANDING THAT ANY PHENOMENON IS DUAL, DIALECTIC, IT CONTAINS CONTRADICTIONS, AMBIVALENCE.
HAVING ENTERED METAMODERNISM, SHE GENERATES AN AESTHETIC-SENSUAL REALITY, WHICH IS BETWEEN A STATE OF CONSTANT ROMANTIC PLAY AND SINCERITY, INTEGRITY AND ATTENTION TO THE INNER WORLD, TENDERNESS AND ANTIFRAGILITY.
DUE TO ITS SENSUAL CONTENT AND NEARLY TABOO-BREAKING VISUALITY, HER ART CHALLENGES CONVENTIONAL VIEWS OF BEAUTY AND MORALITY. SHE BECOMES A MIRROR OF OUR OWN EMOTIONS.
AT FIRST, WE SEE THE FLUID LINES AND SUDDENLY, WHEN RECOGNIZED, ALL THE STRENGTH AND COMPLEXITY OF TABOO FEELINGS AWAKEN IN US. THERE IS A STRONG SENSE OF OBTAINING ACCESS TO SOMETHING VERY INTIMATE AND UNIQUE. SHE STARTS FROM HER OWN INTERNAL CONTRADICTIONS IN SEARCH OF A COMPLEX BALANCE BETWEEN ISOLATION AND ACCEPTANCE, MODESTY AND EROTICISM, TALKING ABOUT THE ONE SHE KNOWS BEST - ABOUT HERSELF.
BEING ON THE JOURNEY TO UNFOLDING, DISCOVERING THE ABILITY OF HERSELF, THE ARTIST AIMS TO INSPIRE THE OTHERS TO FIND THEMSELVES THROUGH HER ART. THIS CAN BE READ AS A MEDITATION ON HER TENDER STRENGTH, A HUMAN'S SPIRITUAL AND PHYSICAL BEING. THIS IS A KIND OF PSYCHOANALYTIC PROCESS THAT ALLOWS THE ARTIST REVEAL THE INNER STRENGTH THAN CAN BE FOUND, ON THE ONE HAND, BY ACCEPTING THE DEFENSELESSNESS OF HER BODY, AND ON THE OTHER, BY REDEFINING, FROM THE POINT OF VIEW OF THIS VERY SPECIAL PERSONAL STORY, WHAT CAN BE CONSIDERED THE SUBJECT OF UNIVERSAL ART.
JULIA SYSALOVA
CURATOR, CRITIC - MEMBER OF INTERNATIONAL ASSOCIATION OF ART CRITICS
VICE PRESIDENT OF INSTITUTE OF THE MEDITERRANEAN CULTURE, GREECE
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