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Solo show: Olga TOBRELUTS "Emperor and Galilean" (over)

3 October 2003 until 15 November 2003
  Olga TOBRELUTS
Olga Tobreluts, "Adam"
 
  D137 ART CLUB

D137 ART CLUB
15-17 Rubinshtein st.
191002 St. Petersburg
Russia (city map)

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tel +7(921) - 359 51 37
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The project is dedicated to the 200 jubiley of G. Ibsen. The project is realized by the Museum of Contemporary Art (Norway, Oslo) and State Russian Museum (Russia, St. Petersburg).

O. Tobreluts interprets Ibsen's "world drama" as the drama of ideas and the conflict of Weltanschauungs. The term "Weltanschauung" is used here in its original meaning of the integral picture of the world...

The series consists of fifty-two canvases and has the articulate inner structure. It includes separate pictures, triptychs and diptychs. However, each picture is a thing in itself being completely self-sufficient...

What are the methods that allowed Olga Tobreluts to produce these slightly ponderous but very solid pictures amounting to the integral picture of the world? At the level of composition, it is the utterly traditional construction of background and foreground that creates the integral rhythm of a picture. In terms of the plastic means, it is the serious work on images. First, computer images underwent "retouching" by hand. In fact, not only did Tobreluts match diverse fragments but also built up the new pictorial matter. Second, the effect of a glazed painting was supported and amplified by the additional work on the canvases. The prints were repeatedly varnished, which endowed them with the new integrative and space-constituting optics. Such is the technical aspect of what I have earlier termed as "picture"...

Interpretative technique of Tobreluts is solid and well grounded. Surprisingly as it is, she has studied the sources and put forward her own hypotheses. The manner of her speculations is sometimes ponderous and sometimes too straightforward, which is a common thing among neophytes in general and the neophytes of "ibsenology" in particular. Still, those are her own speculations, her own understanding, and her own reading of contexts. It is these depth and ponderosity that convince; they make a spectator feel how responsible are the deliberations that underlie these works. Olga Tobreluts understands everything on her own, thus overcoming the ironical looseness of the discourse in which she was brought up as an artist... Alexander Borovskiy

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