The Work of Natalya Kochak
The Bruised Fruit Series -
The people in the 'Bruised Fruit' paintings are fragile, but tough. They are beautiful, but their beauty is intimately bound to thier travails. Each has a multitude of stories to tell, stories of fatigue, struggle, love, joy, dissapointment, and sometimes a life's worth of hard times.
In 'Bruised Fruit', I am creating a population of individuals. Together, they become a narrative. When displayed together each one is looking at another, some looking out to the viewer. I capture a precise moment in time, the casual gesture or sideways glance of an individual. Each piece is linked, a different dynamic every time depending on how the works are arranged and who is seeing them. The viewer becomes part of the population, creating a living communication that reverberates between the pieces. A social situation is created, in which each person or the essence of each person is singular yet working within a community.
A Temporal Slice Series -
My second series, 'A Temporal Slice', takes the idea of movement and communication a step further. The very large paintings are typical crowd senes, and yet the human figures are translucent, suggesting our temporary, ephemeral existence. What is more, you see the faces but you can't remember them. The activity and the connections are what matter.
I use my silkscreen method to translate and capture various landscape scenes. Though I am not averse to panoramic views, my landscapes typically focus on small, intimate settings. A grouping of trees or a dry river bed are sights that we habitually regard as commonplace. Familiarity allows us to forget the awe striking nature and depth of each glimpse the eye takes in, and it is that which I capture in my abstract landscape scenes.
I do not think when I paint. Instead, my perferred medium - watercolor - tells me a story about the subject and records a page in that character, crowd, or setting's history. I use watercolors in the same way a sculptor used wood or stone. Using a wet-on-wet technique that is very unpredictable, I am under no illusion that I control the paint, but rather, I coax and persuade until the featurs and the story emerge.
The medium is not a tool to create that which I have envisioned. Instead, I use watercolors to discern and liberate the image already concealed in the indistinct, shapeless film of paint, creating layers, one upon the other, to reveal form. The luxurious yet fragile quality of watercolors creates a voluptuous look that is almost marbleized when the paint is layered in this way. I combine the gouache and watercolor within a monoprint or a silkscreen for the same controlled, but unpredictable, effect.
I am a graduate of the School of the Art Institute of Chicago. One of my major influences has been contemporary artist Glenn Brown who, "captures the subtle expression of the original and mimics the sumptuous texture of its surface." Other influences are the character studies and techniques of Ivan Albright, Egon Schiele, Marlene Dumas, Kiki Smith, Arnulf Rainer, Oskar Kokoshka, Otto Dix,Kathe Kollwitz, and Andrew Wyeth.
My etchings explore the expressions of the various roles that women portray. The mystery, the glamour and the spirit of the female consciousness. Symbols of patience, nurturer and healer celebrating the mystical nature of the feminine spirit.
Most of my art career, I have spent painting. I was introduced to the printing process at Flatbed Press in Austin, Texas. I was taken in by the simplicity of the lines and the clarity of the images. I fell in love with the process or what I call the ritual. The dance between the artist, the copper plate and the flatbed press.
Most of my Etchings are created on recycled copper. Some pieces have scratches and impurities before I start but this just adds a uniqueness of working with recycled materials.
Growing up in the desert of New Mexico, I thought everyone was an artist. I was always exposed to local art and artists that came to New Mexico to study. Art is the vehicle I use to express the images that spring from my dreams and meditation, creating strength and health which can be drawn upon to bring greater happiness and contentment to our lives. Through my art, I am constantly trying to tap those hidden resources and communicate to the viewer of my work some of those feelings of joy and expansion.
I currently create nature-related abstract prints. The line work images represent a small part of a natural being, such as an insect. As I work to create these images, I abstract them as I am sketching before I begin cutting my plates.
I also have created a series of prints based on imagery in an old book about geography: Map, Mail Stops, Contour, and Flight Path
And, I occasionally create a representational print such as Medium Brew, for the 2016 WPA Trade.
I'm fascinated with the printmaking process, especially the delightful surprises that come the first time a new plate is pulled. I gravitate towards the textural effects of collagraphs finding platemaking is only limited by one‚€ôs imagination. My work has been exhibited throughout the US but primarily in Texas, with a second solo show on the books for Chicago in 2015.
10:00 AM-5:00 PM
WPA Studio (1109 B Shady Lane - Studio 8)
Chair: Ashley Salinas
The deadline for this event (9/8/2012) has passed.