Anastasia Kolosnitsyna

Anastasia Kolosnitsyna

Anastasia Kolosnitsyna

  • ARTIST INFO

    Anastasia Kolosnitsyna

     

    Anastasia Kolosnitsyna was born in Krasnodar on August 8, 1994. In 2009, she graduated from the Krasnodar children's art school No. 1 (named After V. A. Ptashinsky). In 2017, he graduated from the art and graphic faculty of Kuban state University, majoring in artist-teacher and specialist in computer graphics and Web design. In 2017, she created her own author's art Studio, where she teaches drawing, watercolor and oil painting.

    A distinctive feature of modern art is its diversity, which allows the young author to search and find himself among the many existing ideas, themes, trends, styles, techniques, and development vectors. A situation has been created that is somewhat akin to the Renaissance, when the same artist is engaged in painting and architecture, poetry and sculpture, mathematics and diplomacy. Breadth of interests, freedom of choice, and an avid interest in everything new and unusual become the main criteria for the development of art.

     

     

     

    Anastasia Kolosnitsyna has only recently entered this artistic world, which is open to innovations and does not reject traditions. The craft acquired during her studies was the start that allowed her to freely handle materials and work in different genres.

    Already in the thesis, which involves an academic approach to the image of nature, space and form, the features of something more were revealed. In the painting " Attributes of art "(2017. Oil on canvas. 85x110), written under the guidance of doctor of pedagogical Sciences, Professor Yuri Vladimirovich Korobko, has already developed an understanding of form as space, a love of materiality, light humor, a desire to understand yourself, to find your place in the Universe.

    These features were reinforced in the first creative work "self-Portrait "(2018. Oil on canvas, 80x60), painted under the impression of Pablo Picasso. This work was appreciated by the honored artist of the Russian Federation Sergey Vorzhev, who suggested making a series in the same spirit. "The first job was a turning point. I was afraid to show it, I remember carrying it home, turning it away from everyone, " the artist says.

    Vorzhev became a master for Anastasia, who saw in her the qualities that are close to him. The young artist found freedom from academism, realized that you should not hide your fantasies. She took the path that allowed her to enter into a dialogue with the entire world's artistic heritage. And along the way, I found myself. Her interest in self-portrait, which allows combining the subjective and objective, existential and existential, is not accidental. The distinctive feature of her self-portraits is the lack of idealization, the lack of salon, the desire to convey not what she sees, but what she thinks (in the words of Pablo Picasso). "A new culture, born in the depths of the Renaissance, presupposes a brave knowledge of a person about himself," - this definition of the doctor of art history Alexander Yakimovich defines the artistic and human position of the young Krasnodar artist as well as possible. In a series of self-portraits, instead of a specific person, generalized images appear in which her own features are no longer recognized, developing into archetypes. About his lyrical self-portrait - "nudity "" Awakening "(2018.Oil on canvas.35x20) Anastasia said that the more she wrote, the sooner the feeling of constraint, shyness and fear disappeared.

    After graduation, I wanted to see the world and travel. Prague has become a place that has influenced it with its energy, cultural traditions and artistic innovations. The two main paintings at that time were created under the impression of life in the Czech Republic. In one of them ("two-Faced". 2018. Oil on canvas. 60s 50) the author turns to the study of Christian principles of duality of human nature: good and evil, beauty and ugliness, truthfulness and hypocrisy, loyalty and betrayal - all this in Anastasia's work takes on the character of a plastic metaphor. In the composition "self-Portrait in the open air" (2018.Oil on canvas.35x25) increases the role of the grotesque, hyperbole, and non-feminine irony. In comparison with the thesis, in which there is a real space, there is a speculative, conceptual space, the role of flatness, linearity, and an open local spot increases. In these works, the artist's development goes from neocubism and neosymbolism to geometric abstraction, but she rarely crosses the border that separates abstract and figurative art.

    Today's result of the series "Dialogues with Picasso" was the work of 2020: interior with still life and landscape " Guides of the Universe "(2020. Oil on canvas. 80x50) and " Chastity "(2020.Oil on canvas.60x90). Kolosnitsyna is getting closer to mastering the language of surrealism, creating a completely magical Universe populated more by symbols and signs than by living people (Infinity of creation).2020.Oil on canvas.50x50).

    When images of people leave the canvas, they are replaced by things that live in the interior and space. If self-portraits are written without any romanticism or idealization, then the objects are idealized ("Predatory still life". 2018.Oil on canvas.80x60). The artist is interested in being as Such. In the still life "Sweet meeting "(2020.Oil on canvas.80x60), she experiments with techniques of the old masters, combining it with modern pictorial innovations. Love for the Earth, the cult of life forces is present in the textured search, in the emphasized picturesqueness, emotionality. Here, it enters the realm of pure experimentation with form and pointlessness, smooth and broad writing, logic and feeling. Kolosnitsyna acts as a polystylist who speaks a variety of plastic languages - from abstraction to hyperrealism.

    "Golden sand" (2019.Oil on canvas.50x50) and "energy of the planet" (2019.Oil on canvas.80x70) - these are almost pointless experiments, where the author is interested in both textured, that is, quite earthly, searches, and there is a desire to escape from the space of earth's gravity into a pure, unexplored space.

    It is worth paying attention to the triptych "Laces of infinite life" (2020), the hyperrealistic language of which goes back to a long tradition - the style of deceptions (French trompe-l'il, "deception of vision"), popular in Holland and France in the XVII century and in Russia at the turn of the XVIII-XIX centuries. Lace is written with the full illusion of a real knitted product, and only the shell destroys this illusion. Here, on the one hand, high craft is presented, which makes you remember the ancient Greek myth about the competition between two artists, and on the other, as is almost always the case with Anastasia, immersion in her own mythology, replete with allegories and allegories.

    Even in the actual realistic works made in the technique of oil painting, she is not interested in air and perspective, but in the desire to reveal the decorative qualities of the portrayed objects, colors, to understand the soul of things, and not their visible flesh. This is what her still lifes are about: "Sunflowers after a thunderstorm" (2019.Oil on canvas.60x90), "Poppies in blue" (2020. Oil on canvas.60x90), "Spring still life" (2020.Oil on canvas. 100x80).

    Kolosnitsyna develops not only as a traditional painter. She discovered the technique of oil pastels, formally related to graphics, but in fact is a different form of painting, which allows you to create not only more delicate color combinations, but also to fill the graphic sheet with space and air (no wonder this technique was so loved by the Impressionists).

    The appeal to pastels was not due to artistic or metaphysical searches, but to the need to quickly leave Krasnodar and move to the country before the quarantine began. I managed to take with me not brushes and oil paints, but pastels and paper. Thus, a "covid" (and quite fruitful) stage in her creative activity began.

    The countryside makes the eye see differently, think about positive things, think without fuss. Nature gives a person the opportunity to turn to eternal values, the ability to enjoy every day. For the artist, this idea has become a kind of cultural code. A series of pastels – still lifes, surrealism, landscapes, Crimean marinas-was born out of forced imprisonment.

    Anastasia Kolosnitsyna has been engaged in creative work for only 4 years, but she has already passed the way from the postmodern era to metamodernism, accumulating a modern multicultural aesthetic. The artist travels a lot, goes to plein air in Ukraine, Crimea, Czech Republic, Germany, Abkhazia, Armenia. She lives in a colorful world that is open to any cultural connections. It has the energy of youth, which seems that everything is possible. He enjoys playing with styles, techniques, and directions. Seeks and finds itself and the Universe in itself.

     

    Art critic, member of the AIS Tatyana Sokolinskaya