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RENAISSANCE AS AUGURY




New works of ARINA have made me see the entire series in a new way. From the first, where the subject was simply the figure and the 'red', because her glance was averted, there was also the feeling that more was there. There was the nudity of the torso and the emotions triggered by that but then there was the feeling that the head was bald and the understanding of what that might mean. For a woman to be bereft of her hair, especially luxuriant red hair brings about an understanding of total defenselessness but there wasn't any of that, This woman is strong, resilient and that's more obvious in the pieces where there is eye-contact with the viewer. It's almost a shout of defiance and is moving in a way that cannot be ignored. (Essay on Renaissance as Augury by Dusty Pendleton, Artist, Writer. The full essay is below)








Renaissance as Augury Oil on linen, 92 x 610 cm as series, 92 x 122 cm each
 








Renaissance as Augury - 1, Painting, Oil on linen, 92 x 122 cm
 





Renaissance as Augury - 2, Painting, Oil on linen, 92 x 122 cm
 






















Renaissance as Augury - 3, Painting, Oil on linen, 92 x 122 cm









Renaissance as Augury - 4, Painting, Oil on linen, 92 x 122 cm
 



Renaissance as Augury - 5, Painting, Oil on linen, 92 x 122 cm
 








Renaissance as Augury - 1, Painting, Oil on linen, detail
 


Essay on 'Renaissance as Augury'
by Dusty Pendleton, Artist, Writer, USA

New works of ARINA have made me see the entire series in a new way. From the first, where the subject was simply the figure and the 'red', because her glance was averted, there was also the feeling that more was there. There was the nudity of the torso and the emotions triggered by that but then there was the feeling that the head was bald and the understanding of what that might mean. For a woman to be bereft of her hair, especially luxuriant red hair brings about an understanding of total defenselessness but there wasn't any of that, This woman is strong, resilient and that's more obvious in the pieces where there is eye-contact with the viewer. It's almost a shout of defiance and is moving in a way that cannot be ignored.

Now, we have the figure looking away, to the side, and finally with her back to the viewer. Now, it is as if our relationship is, not severed but not so inclusive. We are now the viewer at some distance, almost a voyeur, where before we were close. Yet, we sense that there is still a companionship where the subject is ready to lead on and we, the audience will gladly follow.

How ARINA can accomplish this with such an economy of means is absolutely astounding to me. Now, I have given this all some thought before mentioning it; for one thing, I wanted to be sure and another, I didn't want to see me as some pathetic stalker. Rather, as one artist who sees and admires the talent in another artist and who wants to praise that ability.









All images Copyright © ARINA (Arina Gordienko) All rights reserved

Photographs of paintings by Alexey Moskvin and Ada Yu

 
 
 
 
 
























































 
 
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