Andrei Yankovsky, art historian, the Contemporary Fine Art Museum, Minsk, Belarus
Victoria Kovalenchikova's painting is a sensual fusion of emotional color stream and distinct composition structure. The young artist's creative development has just begun, and in her search for individual style she constantly experiments with color and shape, but already at this stage she determines for herself the direction of these experiments. The most important thing for her is to express her personal attitude to life and, of course, to reach the top levels of art mastership. Very individual and thus distinct, her works are easily recognizable in any environment and entourage. Their coloring is always complex and rich. The artist is fascinated by sweeping stretches of space, shapes of the troubled world and vigorous color accords. The feeling of spatial depth is typical of Victoria's artistic perception. Working on each painting, she seeks after creating a rhythmical symphony of distinct, expressive silhouettes and sharp, expressive contrasts. According to V. Kovalenchikova's personal interpretation, art should not follow blindly nature but only use its structural patterns.
Therefore, the author substitutes an immediate emotional perception for an emotional-intellectual one. As a result, instead of the exact reflection of events the viewer is presented with transformed reality capable of a better representation of the fact of existence. Defining the stylistic peculiarities of Victoria's painting, one should mention that she balances on the brink of realistic and abstract art. In other words, the artist treats reality freely for the sake of a deeper understanding of the spiritual nature of things. Each of her paintings is charged with disturbing and intense energy. The quiet life of objects is represented through the architectonics of the city space. Often does V. Kovalenchikova use city motives as a "pretext" for abstract combinations of color planes and complex volumetric-spatial constructions, in which direct observation is substituted for a logical definition of architectonics, and emotions are expressed through the dynamism of the rhythmical turns and interruptions in color and composition.
All this helps the artist to form a spatial structure of her paintings as a metaphysical set for a certain mise en scene, on which the eternal drama of human existence is staged. Victoria's works are filled with a peculiar "northern" beauty. They are like debris of human life filled with echoes of thoughts, sounds and melodies. Victoria's city, which has no real geographical identity and coordinates, still reminds us of the city of F. Dostoevsky, A. Blok and I. Brodsky:
At this point Victoria's art represents an interesting and promising beginning. The young artist's painting demonstrates dramatic nature and ambiguity of a modern person's attitude to life, of a person just beginning her journey in the art world on the brink of epochs in the time of vague ideals and illusions:
art historian, the Contemporary Fine Art Museum, Minsk, Belarus