Colorful stories. Galina Bystritskaya Automatic translate

Traveling and sharing what has been seen - as it has gone since childhood, continues. Impressions, events, information, growing into experience, allow you to change and become aware of yourself inside and out, freeing your head, opening your heart.

Galina Bystritskaya. Rome 2012. Oil on canvas, 80x100

Galina Bystritskaya. Still life with a pear and an apple. 2016. Oil on canvas, 60x60

Galina Bystritskaya. Feast. 2014. Collage, mixed tech., 34х42

“Galya Bystritskaya is not so much a philosopher who comprehends the world and reflects on her work, its origins and roots, as an essayist-intuitionist, expresser of a romantic-emotional attitude to the surrounding being” (wrote [Andrei Tolstoy] in the introductory article to “Artography”, project book, which included painting, graphics, photographs, sketches and texts from the travel diaries of Galina Bystritskaya for a significant period of her professional activity).

The exhibition offers a journey. And, perhaps, it is no longer geographical, but in time, when it, time, breaking the framework of traditions, turns into tactile matter. It was the path from the Ghetto to Capitol Hill past the Marcellus Theater. A group of heterogeneous designs, combined in a single sound. That’s what I wanted to repeat, that’s what turned out to be the main thing at the last meeting with Rome. The sound and rhythm of the sensation almost destroyed the architectural forms, the color flowed, not lying in the contours, in streams. In each new canvas, when repeating, something new appeared. This series also included several Venetian landscapes, consonant with the wave found in Rome. A game with a "pseudo-Pompei" still life, on the contrary, made it possible to calm down from plein air madness, to build a phrase from objects, like the Roman ritual, to dig deeper into composition and color. Often in a still life it is as if you are losing something that is difficult to approach in a picture. Still life is more malleable - you do whatever you want with it - you can move objects, change something in color. Still life in painting - a short musical theme… like an etude. The ancient world. Myth and prayer, sacrifice and the joy of living, chamber objectivity and leisurely table discussion. The belonging of the shape of the decorated vessels to a divine festive or everyday meal and much that, as it became clear, here and now, specifically in our reality, is impossible to repeat. But - a key point in the meaning of man and art - the joy of sharing for the good. It is forbidden to block the current source with a tap. The search for a node, that set of many parameters that must coincide, turn into a symbol - this is the main impulse and the main task. By and large, it does not matter at all what exactly is depicted - ships, trees, roads. Lines, color, movement turn into a sign, hieroglyph. Even sounds and smells - everything should be felt, as I hope, in one tangle, when immersed in painting, in contact with the picture. Sensory, analytical, and subconscious perception exist in creativity inseparably, together. The colorful stories of Elian were the subject of my diploma at the Printing Institute and one of my favorite books. The variegation is characteristic of sophistry, and it is not without reason that sophisticated prose was compared with a rainbow. Claudius Elian’s position: “First of all, I do not want to be a slave to someone else’s opinion and someone else’s will and I don’t have to follow anyone’s order, it doesn’t matter where she sends me; secondly, wanting to attract diversity of contents and fearing to get boring with monotony, I decided to liken my book to a flower-covered meadow or to weave like a motley wreath so that each animal would contribute to it, ”it’s extremely close to me. Only he shared the words, and my way is the image. “Gale is primarily inherent to the tactile perception of the colorful mass, the element of color itself - a very subjective, personal, almost intimate perception of the matter of painting as part of the fabric of life itself, without which no expressionism is possible. And maybe in such tactile sensitivity lies a special “gender” of Bystritskaya’s creativity. It contains a special sensuality in relation to one’s business, which, when successfully completed, causes a feeling of satisfaction - and not only moral. "(Andrey Tolstoy)