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This artwork had deserved the Critique «Diana Malivani. «The Sea of Samsara». Artwork Analysis» by Christopher Rosewood, Art Critic and Member of the International Confederation of Art Critics (ICAC). * * * Diana Malivani’s heterogeneous and comprehensive oeuvre reflects her dexterity and visual acuity in every artwork, however while considering her wider collection I instantly found ‘Sea of Samsara’ particularly compelling as it is so axiomatic of its subject. Malvani effortlessly and sedulously translates the ethos of Samsara via remarkable compositional features and her astute application of medium; indeed, the cyclical motion of the piece visually references philosophical ideas of rebirth, reincarnation and overlapping narratives. ‘Sea of Samsara’ proffers an astounding emotional journey that calls upon a myriad of elements with roots in vast swathes of art history dating from the very earliest evidence of creativity, and yet still maintains an undeniable sense of modernity that demands unequivocal recognition of its nuance and grace. The recurrence of history is artfully expressed in ‘Sea of Samsara’ by the contrast between representations of primitive creative endeavour and the artist’s impeccably refined execution. The textures harnessed in the piece seem to depict an enduring chronicle; each miniscule element encapsulates a trove of magnificently mysterious wonders that suggest a cognitive conjunction with Jean Dubuffet. ‘Sea of Samsara’ seamlessly juxtaposes the essence of Egyptian hieroglyphs and rudimentary cave drawing with sophisticated movement and captivating colours, demonstrating a flair that is aligned with Richard Pousette-Dart. Indeed, it is this extraordinarily bold use of colour and volcanic energy that evokes a rich and primordial sense of fire; this acknowledgement of the elements reinforces Malivani’s cerebral intentions and fundamental message that is exponent in the work and stimulates academic thought in the viewer. Malivani’s aptitude for utilising art as a social mirror and tool for societal comment proffers powerful connections with Alexander Rodchenko and Aleksandra Ekster, as well as the quintessence of the Constructivist movement as a whole. Malivani’s interpretation of Samsara is evident through the diverse spectrum of animals, shapes and objects that form intricate tableaus, which are layered as a rich tapestry to illustrate the circle of life. In this sense, Malivani is both physically and psychologically constructing art; the passage of time is given radical phrenic importance in ‘Sea of Samsara’ as the viewer can observe stages of artistic manifestation that documents boundless progression, not only of creativity, but also of humanity itself. ‘Sea of Samsara’ exhibits a profound relativity between Malivani and Cubism in her redolent use of line and shape; certainly, her adroit capability to convey a multifaceted story through a simple suggestion of form suggests a commonality with Louis Marcoussis. The strong, angular shapes found within the fibres of the painting obtain visual comparisons with Kenneth Noland and Josef Albers, while her vehement use of medium appears congruous with Emil Nolde and artists associated with Die Br cke, and simultaneously casts reflection on urban graffiti artists such as Futura 2000. By enabling the viewer to ponder such a divergent array of artistic practice, Malivani’s virtuosity comments on the evolutionary aspect of contemporary art, whilst undoubtedly securing herself within its realm. «Diana Malivani. «The Sea of Samsara». Artwork Analysis» by Christopher Rosewood, Art Critic, 2019 (International Confederation of Art Critics. London, UK and Chianciano, Italy) * * * The name of the artwork, «The Sea of Samsara» (part of the Art Project «Seeing The Invisible»), deals with Indian philosophical and religious traditions and means the endless ocean we must cross, lifetime after lifetime, to reach that far distant shore, termed in Buddhism Nirvana. Samsara is a Sanskrit word that means «wandering» or «world», with the connotation of cyclic, circuitous change. It also refers to the concept of cyclicality of all life, of death and rebirth, a fundamental assumption of most Indian religions.
This artwork had deserved the Critique «Diana Malivani. «The Sea of Samsara». Artwork Analysis» by Christopher Rosewood, Art Critic and Member of the International Confederation of Art Critics (ICAC). * * * Diana Malivani’s heterogeneous and comprehensive oeuvre reflects her dexterity and visual acuity in every artwork, however while considering her wider collection I instantly found ‘Sea of Samsara’ particularly compelling as it is so axiomatic of its subject. Malvani effortlessly and sedulously translates the ethos of Samsara via remarkable compositional features and her astute application of medium; indeed, the cyclical motion of the piece visually references philosophical ideas of rebirth, reincarnation and overlapping narratives. ‘Sea of Samsara’ proffers an astounding emotional journey that calls upon a myriad of elements with roots in vast swathes of art history dating from the very earliest evidence of creativity, and yet still maintains an undeniable sense of modernity that demands unequivocal recognition of its nuance and grace. The recurrence of history is artfully expressed in ‘Sea of Samsara’ by the contrast between representations of primitive creative endeavour and the artist’s impeccably refined execution. The textures harnessed in the piece seem to depict an enduring chronicle; each miniscule element encapsulates a trove of magnificently mysterious wonders that suggest a cognitive conjunction with Jean Dubuffet. ‘Sea of Samsara’ seamlessly juxtaposes the essence of Egyptian hieroglyphs and rudimentary cave drawing with sophisticated movement and captivating colours, demonstrating a flair that is aligned with Richard Pousette-Dart. Indeed, it is this extraordinarily bold use of colour and volcanic energy that evokes a rich and primordial sense of fire; this acknowledgement of the elements reinforces Malivani’s cerebral intentions and fundamental message that is exponent in the work and stimulates academic thought in the viewer. Malivani’s aptitude for utilising art as a social mirror and tool for societal comment proffers powerful connections with Alexander Rodchenko and Aleksandra Ekster, as well as the quintessence of the Constructivist movement as a whole. Malivani’s interpretation of Samsara is evident through the diverse spectrum of animals, shapes and objects that form intricate tableaus, which are layered as a rich tapestry to illustrate the circle of life. In this sense, Malivani is both physically and psychologically constructing art; the passage of time is given radical phrenic importance in ‘Sea of Samsara’ as the viewer can observe stages of artistic manifestation that documents boundless progression, not only of creativity, but also of humanity itself. ‘Sea of Samsara’ exhibits a profound relativity between Malivani and Cubism in her redolent use of line and shape; certainly, her adroit capability to convey a multifaceted story through a simple suggestion of form suggests a commonality with Louis Marcoussis. The strong, angular shapes found within the fibres of the painting obtain visual comparisons with Kenneth Noland and Josef Albers, while her vehement use of medium appears congruous with Emil Nolde and artists associated with Die Br cke, and simultaneously casts reflection on urban graffiti artists such as Futura 2000. By enabling the viewer to ponder such a divergent array of artistic practice, Malivani’s virtuosity comments on the evolutionary aspect of contemporary art, whilst undoubtedly securing herself within its realm. «Diana Malivani. «The Sea of Samsara». Artwork Analysis» by Christopher Rosewood, Art Critic, 2019 (International Confederation of Art Critics. London, UK and Chianciano, Italy) * * * The name of the artwork, «The Sea of Samsara» (part of the Art Project «Seeing The Invisible»), deals with Indian philosophical and religious traditions and means the endless ocean we must cross, lifetime after lifetime, to reach that far distant shore, termed in Buddhism Nirvana. Samsara is a Sanskrit word that means «wandering» or «world», with the connotation of cyclic, circuitous change. It also refers to the concept of cyclicality of all life, of death and rebirth, a fundamental assumption of most Indian religions.
This artwork had deserved the Critique «Diana Malivani. «The Sea of Samsara». Artwork Analysis» by Christopher Rosewood, Art Critic and Member of the International Confederation of Art Critics (ICAC). * * * Diana Malivani’s heterogeneous and comprehensive oeuvre reflects her dexterity and visual acuity in every artwork, however while considering her wider collection I instantly found ‘Sea of Samsara’ particularly compelling as it is so axiomatic of its subject. Malvani effortlessly and sedulously translates the ethos of Samsara via remarkable compositional features and her astute application of medium; indeed, the cyclical motion of the piece visually references philosophical ideas of rebirth, reincarnation and overlapping narratives. ‘Sea of Samsara’ proffers an astounding emotional journey that calls upon a myriad of elements with roots in vast swathes of art history dating from the very earliest evidence of creativity, and yet still maintains an undeniable sense of modernity that demands unequivocal recognition of its nuance and grace. The recurrence of history is artfully expressed in ‘Sea of Samsara’ by the contrast between representations of primitive creative endeavour and the artist’s impeccably refined execution. The textures harnessed in the piece seem to depict an enduring chronicle; each miniscule element encapsulates a trove of magnificently mysterious wonders that suggest a cognitive conjunction with Jean Dubuffet. ‘Sea of Samsara’ seamlessly juxtaposes the essence of Egyptian hieroglyphs and rudimentary cave drawing with sophisticated movement and captivating colours, demonstrating a flair that is aligned with Richard Pousette-Dart. Indeed, it is this extraordinarily bold use of colour and volcanic energy that evokes a rich and primordial sense of fire; this acknowledgement of the elements reinforces Malivani’s cerebral intentions and fundamental message that is exponent in the work and stimulates academic thought in the viewer. Malivani’s aptitude for utilising art as a social mirror and tool for societal comment proffers powerful connections with Alexander Rodchenko and Aleksandra Ekster, as well as the quintessence of the Constructivist movement as a whole. Malivani’s interpretation of Samsara is evident through the diverse spectrum of animals, shapes and objects that form intricate tableaus, which are layered as a rich tapestry to illustrate the circle of life. In this sense, Malivani is both physically and psychologically constructing art; the passage of time is given radical phrenic importance in ‘Sea of Samsara’ as the viewer can observe stages of artistic manifestation that documents boundless progression, not only of creativity, but also of humanity itself. ‘Sea of Samsara’ exhibits a profound relativity between Malivani and Cubism in her redolent use of line and shape; certainly, her adroit capability to convey a multifaceted story through a simple suggestion of form suggests a commonality with Louis Marcoussis. The strong, angular shapes found within the fibres of the painting obtain visual comparisons with Kenneth Noland and Josef Albers, while her vehement use of medium appears congruous with Emil Nolde and artists associated with Die Br cke, and simultaneously casts reflection on urban graffiti artists such as Futura 2000. By enabling the viewer to ponder such a divergent array of artistic practice, Malivani’s virtuosity comments on the evolutionary aspect of contemporary art, whilst undoubtedly securing herself within its realm. «Diana Malivani. «The Sea of Samsara». Artwork Analysis» by Christopher Rosewood, Art Critic, 2019 (International Confederation of Art Critics. London, UK and Chianciano, Italy) * * * The name of the artwork, «The Sea of Samsara» (part of the Art Project «Seeing The Invisible»), deals with Indian philosophical and religious traditions and means the endless ocean we must cross, lifetime after lifetime, to reach that far distant shore, termed in Buddhism Nirvana. Samsara is a Sanskrit word that means «wandering» or «world», with the connotation of cyclic, circuitous change. It also refers to the concept of cyclicality of all life, of death and rebirth, a fundamental assumption of most Indian religions.
This artwork had deserved the Critique «Diana Malivani. «The Sea of Samsara». Artwork Analysis» by Christopher Rosewood, Art Critic and Member of the International Confederation of Art Critics (ICAC). * * * Diana Malivani’s heterogeneous and comprehensive oeuvre reflects her dexterity and visual acuity in every artwork, however while considering her wider collection I instantly found ‘Sea of Samsara’ particularly compelling as it is so axiomatic of its subject. Malvani effortlessly and sedulously translates the ethos of Samsara via remarkable compositional features and her astute application of medium; indeed, the cyclical motion of the piece visually references philosophical ideas of rebirth, reincarnation and overlapping narratives. ‘Sea of Samsara’ proffers an astounding emotional journey that calls upon a myriad of elements with roots in vast swathes of art history dating from the very earliest evidence of creativity, and yet still maintains an undeniable sense of modernity that demands unequivocal recognition of its nuance and grace. The recurrence of history is artfully expressed in ‘Sea of Samsara’ by the contrast between representations of primitive creative endeavour and the artist’s impeccably refined execution. The textures harnessed in the piece seem to depict an enduring chronicle; each miniscule element encapsulates a trove of magnificently mysterious wonders that suggest a cognitive conjunction with Jean Dubuffet. ‘Sea of Samsara’ seamlessly juxtaposes the essence of Egyptian hieroglyphs and rudimentary cave drawing with sophisticated movement and captivating colours, demonstrating a flair that is aligned with Richard Pousette-Dart. Indeed, it is this extraordinarily bold use of colour and volcanic energy that evokes a rich and primordial sense of fire; this acknowledgement of the elements reinforces Malivani’s cerebral intentions and fundamental message that is exponent in the work and stimulates academic thought in the viewer. Malivani’s aptitude for utilising art as a social mirror and tool for societal comment proffers powerful connections with Alexander Rodchenko and Aleksandra Ekster, as well as the quintessence of the Constructivist movement as a whole. Malivani’s interpretation of Samsara is evident through the diverse spectrum of animals, shapes and objects that form intricate tableaus, which are layered as a rich tapestry to illustrate the circle of life. In this sense, Malivani is both physically and psychologically constructing art; the passage of time is given radical phrenic importance in ‘Sea of Samsara’ as the viewer can observe stages of artistic manifestation that documents boundless progression, not only of creativity, but also of humanity itself. ‘Sea of Samsara’ exhibits a profound relativity between Malivani and Cubism in her redolent use of line and shape; certainly, her adroit capability to convey a multifaceted story through a simple suggestion of form suggests a commonality with Louis Marcoussis. The strong, angular shapes found within the fibres of the painting obtain visual comparisons with Kenneth Noland and Josef Albers, while her vehement use of medium appears congruous with Emil Nolde and artists associated with Die Br cke, and simultaneously casts reflection on urban graffiti artists such as Futura 2000. By enabling the viewer to ponder such a divergent array of artistic practice, Malivani’s virtuosity comments on the evolutionary aspect of contemporary art, whilst undoubtedly securing herself within its realm. «Diana Malivani. «The Sea of Samsara». Artwork Analysis» by Christopher Rosewood, Art Critic, 2019 (International Confederation of Art Critics. London, UK and Chianciano, Italy) * * * The name of the artwork, «The Sea of Samsara» (part of the Art Project «Seeing The Invisible»), deals with Indian philosophical and religious traditions and means the endless ocean we must cross, lifetime after lifetime, to reach that far distant shore, termed in Buddhism Nirvana. Samsara is a Sanskrit word that means «wandering» or «world», with the connotation of cyclic, circuitous change. It also refers to the concept of cyclicality of all life, of death and rebirth, a fundamental assumption of most Indian religions.
This artwork had deserved the Critique «Diana Malivani. «The Sea of Samsara». Artwork Analysis» by Christopher Rosewood, Art Critic and Member of the International Confederation of Art Critics (ICAC). * * * Diana Malivani’s heterogeneous and comprehensive oeuvre reflects her dexterity and visual acuity in every artwork, however while considering her wider collection I instantly found ‘Sea of Samsara’ particularly compelling as it is so axiomatic of its subject. Malvani effortlessly and sedulously translates the ethos of Samsara via remarkable compositional features and her astute application of medium; indeed, the cyclical motion of the piece visually references philosophical ideas of rebirth, reincarnation and overlapping narratives. ‘Sea of Samsara’ proffers an astounding emotional journey that calls upon a myriad of elements with roots in vast swathes of art history dating from the very earliest evidence of creativity, and yet still maintains an undeniable sense of modernity that demands unequivocal recognition of its nuance and grace. The recurrence of history is artfully expressed in ‘Sea of Samsara’ by the contrast between representations of primitive creative endeavour and the artist’s impeccably refined execution. The textures harnessed in the piece seem to depict an enduring chronicle; each miniscule element encapsulates a trove of magnificently mysterious wonders that suggest a cognitive conjunction with Jean Dubuffet. ‘Sea of Samsara’ seamlessly juxtaposes the essence of Egyptian hieroglyphs and rudimentary cave drawing with sophisticated movement and captivating colours, demonstrating a flair that is aligned with Richard Pousette-Dart. Indeed, it is this extraordinarily bold use of colour and volcanic energy that evokes a rich and primordial sense of fire; this acknowledgement of the elements reinforces Malivani’s cerebral intentions and fundamental message that is exponent in the work and stimulates academic thought in the viewer. Malivani’s aptitude for utilising art as a social mirror and tool for societal comment proffers powerful connections with Alexander Rodchenko and Aleksandra Ekster, as well as the quintessence of the Constructivist movement as a whole. Malivani’s interpretation of Samsara is evident through the diverse spectrum of animals, shapes and objects that form intricate tableaus, which are layered as a rich tapestry to illustrate the circle of life. In this sense, Malivani is both physically and psychologically constructing art; the passage of time is given radical phrenic importance in ‘Sea of Samsara’ as the viewer can observe stages of artistic manifestation that documents boundless progression, not only of creativity, but also of humanity itself. ‘Sea of Samsara’ exhibits a profound relativity between Malivani and Cubism in her redolent use of line and shape; certainly, her adroit capability to convey a multifaceted story through a simple suggestion of form suggests a commonality with Louis Marcoussis. The strong, angular shapes found within the fibres of the painting obtain visual comparisons with Kenneth Noland and Josef Albers, while her vehement use of medium appears congruous with Emil Nolde and artists associated with Die Br cke, and simultaneously casts reflection on urban graffiti artists such as Futura 2000. By enabling the viewer to ponder such a divergent array of artistic practice, Malivani’s virtuosity comments on the evolutionary aspect of contemporary art, whilst undoubtedly securing herself within its realm. «Diana Malivani. «The Sea of Samsara». Artwork Analysis» by Christopher Rosewood, Art Critic, 2019 (International Confederation of Art Critics. London, UK and Chianciano, Italy) * * * The name of the artwork, «The Sea of Samsara» (part of the Art Project «Seeing The Invisible»), deals with Indian philosophical and religious traditions and means the endless ocean we must cross, lifetime after lifetime, to reach that far distant shore, termed in Buddhism Nirvana. Samsara is a Sanskrit word that means «wandering» or «world», with the connotation of cyclic, circuitous change. It also refers to the concept of cyclicality of all life, of death and rebirth, a fundamental assumption of most Indian religions.
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The Sea of Samsara Painting

Diana Malivani

Cyprus

Painting, Oil on Canvas

Size: 47.2 W x 59.1 H x 1.6 D in

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About The Artwork

Collection «Large Format Artworks - Abstract & Surrealistic Art» * * * This artwork had deserved the Critique «Diana Malivani. "The Sea of Samsara". Artwork Analysis» by Christopher Rosewood, Art Critic and Member of the International Confederation of Art Critics (ICAC). * * * This artwork is part of the Art Project «Seeing The Invisible». We can hardly see the invisible; for example, those children’s puzzles which have objects hidden in a picture. We saw none of these things until we really began searching for them in unlikely places. They had been invisible to us, but before long we began to see the invisible. In her book “Exploring the Invisible: Art, Science, and the Spiritual”, Lynn Gamwell shows how modern science has transformed modern art and reveals that the world beyond the naked eye - made visible by advances in science - has been a major inspiration for artists ever since. In his book “Seeing the Invisible”, Michel Henry uncovers the philosophical significance of Wassily Kandinsky’s revolution in painting: that abstract art reveals the invisible essence of life and overturns our conceptions about art, because it seeks to express the internal aspect of phenomena, in other words, to paint the invisible. * * * The name of the artwork, «The Sea of Samsara» (part of the Art Project «Seeing The Invisible»), deals with Indian philosophical and religious traditions and means the endless ocean we must cross, lifetime after lifetime, to reach that far distant shore, termed in Buddhism Nirvana. Samsara is a Sanskrit word that means «wandering» or «world», with the connotation of cyclic, circuitous change. It also refers to the concept of cyclicality of all life, of death and rebirth, a fundamental assumption of most Indian religions. * * * More photos of the artwork as well as the relevant documents are available upon request (close-up views, the artists signature, in-context photos, publication copies, certificate of authenticity etc.).

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:47.2 W x 59.1 H x 1.6 D in

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Artist Diana Malivani is represented by internationally reputable art galleries. Her works regularly appear in prestigious exhibitions and compete in art contests in several countries, are published in international art journals, offered for sale on leading online art marketplaces, listed by auction houses, and held in the collections of both national museums and private collectors throughout the world. Diana Malivani was born in 1976, in the USSR. She is a Doctor of Medicine by her training and profession (M.D., Ph.D). After many years spent in France, Diana now lives with her family in Cyprus. Artistic career Diana Malivani’s artistic oeuvre is characterised by a variety of thematic areas: flowers and still life, gardens and landscapes, animal and birds paintings, marines and abstract paintings, portraits and genre scenes, religious and Indian themes. The dominant themes of the artist's works include flowers, gardens and landscapes, created in the author's own style, combining impressionism and realism. Malivani’s abstract compositions are grouped into several art projects: ’Seeing Music’, ’Seeing the Invisible’ etc. Almost all Malivani’s works are made in the technique of oil on canvas, mainly with a palette knife. The works, part of the art project ’The Blue Butterfly’s Dream’ (semi-abstract surrealistic compositions and woman portraiture) are characterized by a mixed technique: oil painting on fluid acrylic background and gold leaf collage. Malivani’s artworks are held in the collections of some National Art Museums in the Russian Federation (in the cities of Sochi, Belgorod, Saransk and Novokuznetsk). Awards & Prizes Malivani is part of the List of the Best Contemporary Russian Artists by ARTEEX, art marketplace and information platform in Russia. Her landscape painting ’Les jardins de Giverny’ was awarded with the First Prize in the Category ’Painting - Realism’ at The Global Art Awards at Shanghai International Art Fair 2020. Her semi-abstract painting ’Pearl Fisher’ was awarded with the Second Prize at London Art Biennale 2019, and two figurative paintings - ’Sparrows’ and ’Dance of Pink Flamingoes’ - became Finalists of The International Artist Grand Prize Competition 2020 in Taiwan.

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