Exhibition of November
11 - 29 November 2014
Painting by Sasha Bella steadily moving away from the story, plot. Increasingly depicted objects and places are sealed in a colorful mass, and more hints about their presence than in detail present themselves. Large, often ill-read inscriptions-comments underline convention and "pictureness" and, with few exceptions, do not inform the viewer something at all. Actually, more and more figurative qualities reduced to the horizon line, more precisely, to a simple division, the primary line of demarcation separating the bottom from the top, the earth from the sky. This is for artist, in terms of plot, enough. Nevertheless, it is a painting that does not tend to conditional formula where the depicting would become a mark, nor to full abstraction. For the painter is important an interaction with nature. It is important to make a visible way on its simplification, the effort of speaking of this. Artist quite satisfies with flicking on the border of figurative qualities, she does not intend to step over it.
Each time the artist begins to consistently reduce reality, it is reasonable to ask a question about her motivation. What remains to exhibit is just as important as what is expelled from it.
They seem as if personal things - food, flowers in a vase, fish - all this suitable fit for plot into the framework of post-Leningrad intellectually touching painting. Home, everyday life, like a warm, protected space on the background alienated Soviet-modernist-postmodernist-post-Soviet the universe. But plastic solution cannot conjugate the artist on this paradigm. Some black apple on black painting, which is difficult to discern, gray "M-I-L-K", barely visible hunched plants, shelf with something incomprehensible... Imaginary ineptitude of depicting gesture clearly hangs in the dark colorful vacuum. It's about anything, just not about comfort. Equally ambiguous is the case with the landscape.
Native Lenoblast’ fir-trees, distant fires, night rivers and sunsets - on the one hand, they recognized almost tactile, and with another - all the more cause to doubt in the availability of a definite natural prototype, or the intention to capture one. Also lyrics are absent. Ultimately, the story and the subject of this painting - the artist, with her physicality, motor skills, intentions and paint. No color, no flavor, no gamma - namely black, red, gray, white paint, as a substance, primal. Contact these two elements and become the main content of the work. It would seem - figurative beginning is unnecessary - but no! Here appears selectivity of the artist. Contact with the ground, with being is possible only in a certain situation, only somewhere. Namely - alone, in deepest retreat. Otherwise artist bumps in infested, sparkling and annoying modernity. Its confusing inconsistency, variability, multipartite, decentering is immersed in a passive split state. Since they are consistently cleaned out, distilled. The remaining after distillation - privacy as landscape, privacy as still life. Here in this purified space and played repeatedly drama pairing of artist and material. This act of self-declaration, self-creation, individualization. A generalized vision and allows to see itself as a whole, rather than a set of disconnected reactions on kaleidoscope of external calls. The artist as a whole appears during and at the time of the creation of the landscape. Thus, this exhibition - a series of reports about the places and moments while arist collected herself, was in fullness.
Sasha1958 Born in Leningrad, Russia.
1982 Graduated from Mukhina Academy of Art and Design in Leningrad.
Member of the Artist's Union of Russia.
Sasha Belle has been participating in art exhibitions since 1982.
She is also famous for her poetry - six editions of her verses were published in Russia.
Museum of the History of St. Petersburg, St. Petersburg, Russia
Museum of Contemporary Art, St. Petersburg, Russia
Museum of Contemporary Art, Moscow, Russia
Museum of Art, Samara, Russia
Sasha Belle participated in more than 100 art exhibitions in Russia and abroad.
Sasha Belle, the painter from St. Petersburg, for decades has been entertaining "connoisseurs", "lovers" and "zealots" of art by means of hundreds of indemonstrable theorems. She is a master who elevates art to the rank of arithmetic clear combinations and overturns it to chaos of mysterious joints.
There are uncommon moments in life of an art-critic when he finds himself to be defenseless, barren of his customary weapons in front of a piece of art, which is not to be evaluated, described, praised or criticized. Art contains something in front of which each of us feels like it would be better for him to keep silence. Since in that concentrated silence some clinking thread, which connects your unprofitable with something about the painting, which doesn"t need any words. It's very much like love. Love is not to be prepared. Love is not to be spoken about. Love is to be declared.
Every time, some striking, frightening and thrilling sense of purity and authenticity of the sight arises in me. The simplicity of these paintings is deceptive. The elegant alloy of colours, which turns to be the substantial aspect of Sasha Belle's painting is hidden under the absence of plot, the symbolism of objects and sketchiness of figures.