NETWORK II Painting

Sonja Brzak, born in Zagreb, completed her higher artistic education at the Arthouse-College of Visual Arts in Ljubljana, where she earned a degree in painting. Her paintings are rich in color, to attract viewers with the harmony of colors and their complementarity. Each canvas is dominated by a character or characters elsewhere. The background is often denied, leaving the viewer the opportunity to focus on the characters and look for a new angle of view and for the characters to tell their story, which evokes positive emotions, which is the purpose of aesthetic perception of the work of art. Playing with colors, the characters come to us in a stylistically recognizable form and in an abstract way. Continuous opportunities to explore oil on canvas create vivid and impressive creations. Brush and painting movements provide state-of-the-art technology, dedication and high aesthetic value of each work, as well as dominant quality. The most common subject of painting by the academic painter Sonja Brzak is a human figure. The painter is dedicated to depicting one or more human figures that connects and merges into one inseparable unity. Her work consists mainly of images of abstract expression, and consists of many forms of sharp edges in pure and dominant black palette of bright colors. Images are completely undefined in terms of their theme and distance themselves from objects with their geometric abstraction. The painter sometimes experiments with automatism and uncontrolled body movements, and softens or "releases" the sharpness and hardness of geometric motifs by dripping light or dark colors on colorful canvases, thus creating a swirling composition of small and large markings. Her most suggestive work is undoubtedly associated with the depiction of human figures that she stylizes and transforms into abstract forms. The recognizability of the motif is not treated equally in all her works; it differs from one image to another, and the shape of the human body gradually "dissolves" beyond recognition. Thus, in some paintings, human figures, although fragmented in many forms, are clearly drawn and accentuated by color and lines, and the observer can easily distinguish body parts. Other images show a shift toward stronger stylization marked by the loss of body lines in a complex network of lines, and the vagueness and coherence of shapes are enhanced by an identical array of colors used to depict the figures.