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Collection art gallery

Sasha Makarska


    The lively boisterous youthful Collection gallery, like a true fisherman, has caught the quietest and the biggest carp. They shout a lot and like empty barrels make more noise than full ones; every one wants to be Dali-Vargola, or Savadov at least, right now, there and then. There’s just little Makarska sitting in the corner quietly and painting something. <…>

    I catch myself wishing to enter Makarska’s canvas and getting lost there, in her space of happiness. She designs the space in a certain hospitable way. The foreground is left open for you to set your foot in there. Further the composition spreads gently into the heart of the picture, pushing you slightly: “There, don’t be afraid, let’s go.” And the color scheme is extremely pleasant. It is tender, “the color of bananas and lemons,” as in the song about Singapore by the well-known Russian singer Vertinsky. It seems to treasure you. There is no sharp dissonance, there is a lulling paradise. After her “Alphabet” series, the young woman has often been compared to Wittgenstein. But she has begun with what he had finished. By means of dizzily complicated syllogisms he concluded that there was more life in baby talk or in a tipsy cockney dialect than in a “Logical-philosophical Treatise.” And, just as Heidegger, by the way, in old age she began writing simply, sensibly and “alogically.” <…>

  • Parallel worlds as seen by Sasha Makarska, Oleksandr Vashchenko, Art Expert

    <…>As a result of different times and dimensions “meeting” on a single canvas, the chronotype of Sasha’s paintings is very complicated, although their compositions are laconical and not overloaded with detail. And the flow of time is such, that it is as if there were no movement of time at all. This, by the way, causes an interesting effect: the paintings become monumental. Sometimes they become monumental in an ironic way (for example, the canvases depicting animals).

    By slowing down time the artist seems to suggest we should not make haste. And one who responds to this suggestion will have all the opportunities to feel the canvases’ energy to touch off a “chain reaction” of associations, thoughts and feelings.

    In contrast to the composition, coloristic solutions in the young artist’s paintings are complex and delicate. They poeticize the reality created by her. Her canvases are free of any similarity to narration, in which the more information you want to convey, the longer the syntagmatic chain you need. What you see is much closer to original lyrical poetry. The music of words is successfully replaced by the music of paint there. <…>

  • SASHA MAKARSKA’S MODEST CHARM, Oleg Sydor-Hibelynda, Art Ñritic

    <…>This exhibition by Sasha Makarska –the project has been realized over the past three months and consists of about twenty (!) paintings – is devoted to life as such, its subtle signs, its inoffensive eccentricities, and trifling nasty turns. Her canvases do not resemble the dull everyday-life genre painting of the Society of Itinerant Artists (painters of the realist school in Russian art in the second half of the XIXth century). But still she does not nullify everyday life as such, although it is only a part of life, zycie, vie…hang on-life! The author is not its judge, but an interested, slightly suspicious observer. Or she even fixes some processes and provokes others. (Above all, she is known to an admirer of the muse for her paintings, however she has tried her hand at land-art “on the sand” and in RAP performances as well).<…>

17.05.2007 — 17.06.2007