Koldobskaya, Marina
Нuman being explores life by the methods that seem the most suitable here and now.
I started my carrier as a painter, then I worked as a conceptual artist, curator, critic, journalist and art manager. Some years ago I have returned to painting that provides an incomparable joy in the direct act of creation. And I treated myself to working for the hell of it – out of professional conventions and without a backward glance at the market, trends or critics’ opinion. This provides an incomparable joy of freedom. People seem to like it.
Marina Koldobskaya
Works of Marina Koldobskaya are childlike in their charm and archaic in their brutality. It is as if they had stepped out of the pages or a sketchbook or down from the walls of a Paleolithic cave – territories of the protolanguage, simultaneously sacral and profane.
All the series of pictorial works by Marina Koldobskaya are united by the artist’s general tendency to push the envelope of traditional painting. By exposing professional devices to the maximum, the artist removes, layer by layer, the multi-millennium practice of art history, getting to the essentials of the protolanguage of art. At the author’s pleasure, large-scale canvases become half cave roofs of the Paleolithic Age, half a page from the children drawing book: the sacral territory of expression. From the pictures, we are closely observed by packs of predators that pulled their prey to pieces and are now drunk with blood flows, and postcard flowers lost their decorative aspect and turned into the monsters that devour with their bud’s trap the viewer who passes by. Expressive images-totems are plain to everybody, much like everybody is familiar with the emotions which are common to a human and an animal: fury, lust, thirst and fear.
Andrey Sakov, art-historian
Andrey Sakov, Kunsthistoriker
