Scaleni / Merge Painting

My oil painting "Scaleni / Merge" was at the individual exhibition "Fragments of light". From the series "Fragments of light". 11.2014 - "Déjà vu", paintings , Gallery of Antioh Cantemir , Balti , Moldova 07.2010 - "Fragments of light", painting, Space Gallery, Marka 22 street, Krakow All my works are unique and original. Follow me on Instagram or Facebook for upcoming exhibition information. Varnish: satin finish Signature: front, also signed Certificate of Authenticity A series grouped under the name "Fragment światła" best demonstrates the independence of artistic vision. Biletnikova has a natural grasp of color and a flawless sense of color balance. These works are a celebration of vision -- vision celebrating itself. Naturally, this occurs within the medium of light. Radiant luminosity leaps out of every work. This series represents in its own way the logical outcome of freeing artistic vision from the constraints of discourse. There is a suggestion of Paul Klee in these pieces, but in a bizarre way: Klee seems as if a finite stepping-stone, an algebraic unit on the way to the perfect freedom depicted in Biletnikova's luminous otherworldly realm. It is no coincidence that many of these pieces seem to display winged or angelic creatures as if in another world, beyond black and white, what naturally takes place is an ascendancy of infinite freedom. Since that freedom begins and ends in vision, it manifests in the form of light. These heavenly figures and some of them in the related religious series called "sacrum" are swathed in light. Light permeates these visions, seeming to emanate from behind the figures and always at the verge of overwhelming the image. What might this mean? It is unique that so many of these images might seem almost overwhelmed, almost too bright for the viewer to be able to see the figures/objects depicted. Such a phenomenon takes place on the side of the viewer, not on the side of the figures. If a viewer cannot see the objects within a painting, the net effect is that it is the viewer who is blinded by the light. The objects or figures are not blinded. Phenomenologically, the whole effect takes place within the viewer, belongs to the subjective experience of the viewer. This subverts the artistic primacy of the artistic subject depicted within a painting as being absolutely determinant of the (final) reality of the content (by being depicted). In Biletnikova's works here, the breathtaking luminosity of these images means that the artistic event self-consciously takes place within the viewer (who is blinded). Not on the side of the object. This represents the triumph of subjective artistic vision -- and freedom. "Scaleni III" (2009) is the last piece to be touched on here. This is because while "U bramy niebios" understood in a certain context and given a certain interpretation is an artistic depiction of male logic, of the male predicament -- "Scaleni III" in its way tells the truth about the female predicament. This painting is touching, and lovely in a quiet way. A woman of voluptuous figure sits on a soft chair or sofa, one that is formless and inconsequential. She sits, and the bright orange and red of her excessively womanly figure in contrast to the blues of the furniture and the background suggest a thermal image. It as if we are seeing heat, not light. The woman, her immense heat is constant throughout. She is as if one giant heart. She is vulnerable and demure at the same time -- thanks to the same gesture: she wears her hair down over one of her eyes and half her face. She is naked, but she still veils herself and has rendered herself substantially blind and vulnerable by the same token. Nonetheless, her sultry remaining eye and her bounteous, full lips show she is a woman to be desired. On her lap, though indistinguishable from the rest of her body, is what appears to be a guitar or lute. Its stem is aligned with the axis of her body, the angle of her repose. The resonance chamber or soundbox of the guitar is shaped like an inverted heart. Because of its position to the viewer, this inverted heart seems quite obviously to be the heart of the woman. But it is inverted to suggest that directed outward, externalized, out of the woman herself. It is a remarkable set of associations. The body conveys warmth and desirability. The heart is huge, and not entirely her own, as it is externalized and perhaps equally under the control of some outside force, some other person. And the lute or guitar, which is inseparable from the rest of her, suggests that her body is an instrument. The woman is an instrument for someone or something else. The instrument is played as her heart is played. Is this not the predicament of every woman? Her heart is externalized; she is feeling-oriented to an outside. This makes her heart an instrument to be played by whoever comes along, but she is also an instrument of man's pleasure. She is made vulnerable both by her relative physical weakness but also the powerful nudity she must conceal. Yet that nudity is the source of tremendous power. Men are attracted to her, seek after her as if Heaven, and seek to disappear into her. A remarkable set of associations provoked by a remarkable artist.

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:15.7 W x 21.6 H x 0.8 D in

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