log in
Enter site
Login to use Arthive functionality to the maximum
KATYA ROZHKOVA
Katya Rozhkova was born in Moscow in 1969.
Graduated from the Moscow Secondary Art School at the Institute. Surikov and VGIK (workshop of V. A. Bogdanov, production department).
1994–1996 Trained at the National Academy of Fine Arts, Tokyo, Japan, becoming an honorary scholarship of the Academy of Arts.
At the moment she is the author and curator of the exhibition "Personal Space".
"People themselves find or even create those who will love us." A landscape, elusive and changeable, ambassadorial apprenticeship and life in China with a
bodies, the desire and happiness from the opportunity to join the common stream of that Chinese street, low, multi-headed and bicycle, comprehension through the pores of uniforms
the unknown, therefore, alien, but eternal and multilayered world. Love to escape into the branches of trees, real escape to the tree, merge and consolation, rest
and energizing leaves, roots, smells of earth and wind. The exhibition will feature drawings by the artist, Garif Basyrov, who was born in ALZHIR (Akmola camp for wives of traitors to the motherland), also known as Point 26 on the Karlag map. In the 1960s he graduated from the art school at the Surikov Institute, then the art faculty of VGIK. The drawings were deliberately selected for the exhibition. Square characters, too square to be sublime, gaze up at the starry sky. Paradoxical drawing. And a graphic sheet with two figures of people sitting inside the crown of a huge tree, which have become part of it, its branch. Heads are raised to the sky, to the Eternal Cosmos. And why don't they watch. People are people.
We believe that in Russia today there is no such level of non-Japanese, but at the same time categorically Japanese artist of the old Japanese school, what kind of
Katya Rozhkova happened by its very nature. Three fundamental constituents of this type of artist, quite rare in our time. First of all - a high craft, that is, the technology of printing, computer capabilities, a strong hand, a free fit of the whole body to fulfill the plan, the skills of drawing and alchemical formulations of color and texture. Certainly Personal History, which permeates through every accidental and conceived hole in the work, so personal that it is quite suitable for any person to try on a story that inevitably goes into the archetype. And third, the obligatory desire to evoke a feeling of delight in the beholder. The Japanese call such a feeling “Mono no avare”, which can be roughly translated as “enchantment from a thing”. It can be translated as "ah!" Charm can be sad, but always with a smile. If life were not so fleeting, fleeting, passing, then there would be no charm in it. Mono no avare is also associated with extraordinary sensitivity, which was cultivated in the classical era of Heian (IX - XII centuries), the ability to capture the subtlest currents of life. The sadness of loneliness, the aesthetics of poverty as aristocracy, freshness with the brightest stroke of a scarlet brush, weakness, serenity, shadow, muffledness on the verge of disappearance of colors and sounds, detachment.
All these definitions of medieval Japanese aesthetics “sabi” and “wabi” approximately describe the range of meanings of Katya Rozhkova's talent, but not
reveal it completely. In one of his five-verses-tanka there is an image: “frozen stunted reeds on the seashore”, which is considered an early incarnation of sabi. Light turbidity of things: dishes, furniture, clothes is due to the fact that it is often touched with hands and a slight coating of fat remains from them, which, being absorbed, creates a special warmth, impenetrability with the hope of light. The dull gloss of the dishes, the dull dark color of the Japanese yokan marmalade, the mirrors in the semi-dark rooms of the old Japanese houses evoke exactly the feeling of layers of darkness that a skilled artist of hidden beauty achieves. Whoever he was, without unconditionally comparing anyone with anyone, Rembrandt van Rijn, Yuri Norstein or Katya Rozhkova.
Katya Rozhkova was born in Moscow in 1969.
Graduated from the Moscow Secondary Art School at the Institute. Surikov and VGIK (workshop of V. A. Bogdanov, production department).
1994–1996 Trained at the National Academy of Fine Arts, Tokyo, Japan, becoming an honorary scholarship of the Academy of Arts.
At the moment she is the author and curator of the exhibition "Personal Space".
"People themselves find or even create those who will love us." A landscape, elusive and changeable, ambassadorial apprenticeship and life in China with a
bodies, the desire and happiness from the opportunity to join the common stream of that Chinese street, low, multi-headed and bicycle, comprehension through the pores of uniforms
the unknown, therefore, alien, but eternal and multilayered world. Love to escape into the branches of trees, real escape to the tree, merge and consolation, rest
and energizing leaves, roots, smells of earth and wind. The exhibition will feature drawings by the artist, Garif Basyrov, who was born in ALZHIR (Akmola camp for wives of traitors to the motherland), also known as Point 26 on the Karlag map. In the 1960s he graduated from the art school at the Surikov Institute, then the art faculty of VGIK. The drawings were deliberately selected for the exhibition. Square characters, too square to be sublime, gaze up at the starry sky. Paradoxical drawing. And a graphic sheet with two figures of people sitting inside the crown of a huge tree, which have become part of it, its branch. Heads are raised to the sky, to the Eternal Cosmos. And why don't they watch. People are people.
We believe that in Russia today there is no such level of non-Japanese, but at the same time categorically Japanese artist of the old Japanese school, what kind of
Katya Rozhkova happened by its very nature. Three fundamental constituents of this type of artist, quite rare in our time. First of all - a high craft, that is, the technology of printing, computer capabilities, a strong hand, a free fit of the whole body to fulfill the plan, the skills of drawing and alchemical formulations of color and texture. Certainly Personal History, which permeates through every accidental and conceived hole in the work, so personal that it is quite suitable for any person to try on a story that inevitably goes into the archetype. And third, the obligatory desire to evoke a feeling of delight in the beholder. The Japanese call such a feeling “Mono no avare”, which can be roughly translated as “enchantment from a thing”. It can be translated as "ah!" Charm can be sad, but always with a smile. If life were not so fleeting, fleeting, passing, then there would be no charm in it. Mono no avare is also associated with extraordinary sensitivity, which was cultivated in the classical era of Heian (IX - XII centuries), the ability to capture the subtlest currents of life. The sadness of loneliness, the aesthetics of poverty as aristocracy, freshness with the brightest stroke of a scarlet brush, weakness, serenity, shadow, muffledness on the verge of disappearance of colors and sounds, detachment.
All these definitions of medieval Japanese aesthetics “sabi” and “wabi” approximately describe the range of meanings of Katya Rozhkova's talent, but not
reveal it completely. In one of his five-verses-tanka there is an image: “frozen stunted reeds on the seashore”, which is considered an early incarnation of sabi. Light turbidity of things: dishes, furniture, clothes is due to the fact that it is often touched with hands and a slight coating of fat remains from them, which, being absorbed, creates a special warmth, impenetrability with the hope of light. The dull gloss of the dishes, the dull dark color of the Japanese yokan marmalade, the mirrors in the semi-dark rooms of the old Japanese houses evoke exactly the feeling of layers of darkness that a skilled artist of hidden beauty achieves. Whoever he was, without unconditionally comparing anyone with anyone, Rembrandt van Rijn, Yuri Norstein or Katya Rozhkova.
-
Contacts
-
Artworks liked by1 user
