«Olga’s Poetic Accords»

Maye Matsar (Doctor of Philosophy), in cooperation with the painter Vitaliy Gribkov.2011

«Olga’s picture – not stylistically but in terms of the approach – is comparable with the Japanese graphic art with its line conventionality, self-sufficiency in terms of plasticity, free in relation to the outside world, being not turned, however, into the ornamentality…. at that Olga succeeded to avoid any expression, virtuality of the plastic artificiality, externalities – everything that falls within the notation of “false form”, that decorative richness, which, according to Herbert Read, is the “inferiority complex of the painter»

«Colour range features are implemented also with the lightness and delicacy being inherent to the painter creating a balance between the “colour composition of pictures and the colour harmony of the nature»

«Olga solves in the same distinguished manner the contradiction, which is faced by every painter, between the real space and the created one, between the three-dimensionality and two-dimensionality. She does manage to keep herself within the pictorial area maintaining the desired depth. It is well known, and the theorists of art have repeatedly drawn attention to the fact that it is not difficult to attain the conveyance of three-dimensionality by means of painting or graphics, any student comprehends it easily, and profanes only can be keen on this illusionism; but the need and the ability to present just frontal plane as one reproducing the space is the sign of the master’s maturity. Each Olga’s painting is a projection of the relation to the World of the master herself – it is an embodiment of the Cosmos, the harmony of the Universe.»

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