“The idea of the unity and harmony of opposed elements has always been present in my painting. Personified by the primordial effects of day and night, these states are equally close to me as an artist and as a person. The title of this exhibition, Equinox, reflects the essence of this unity of opposites. Trying to avoid the traditional identification of day with good and night with evil, I depict these elements full of unique (and equivalent) creative energy, as two wings, two halves of the whole,” Olha Morozova says. However, seeking for some deep sense, suprasense, and subsense, in anything (especially in painting) is a very thankless task. In any case, young Kyiv artists’ painting is absolutely valuable in itself and self-sufficient; in other words, to put it plainly, it is wonderful and good as itself.
In Morozova’s works two special qualities coexist in some strange way, opposite enough to deserve the title of equinox: this time it is anequinox of artistic manner. Juicy, spirited strokes and deep, clear colors unexpectedly become completely suitable for reproducing profound personal feelings and seemingly utterly watercolor moods. Emotional, if one may say so, turbulent painting appears in fact lyrical and even to some extent unprotected.
Equally paradoxical is that the internal state is depicted exclusively by a so-called view from behind. Humanity’s emotional state and that of the world appear to be repeatedly reflected and perhaps never distorted in each other. Olha Morozova’s paintings are most usually landscapes, the landscapes of emotions and, it seems, they are always to some extent invented or, more precisely, thought up. Here lay the roots of their exotics ( Tender is the Night), poetics (Kyiv Parks), romanticism (Venetian Motif, Night Over Kyiv), and even a fairy-tale quality (On Hoholivska Street, and Twilight of the Day: Amsterdam). Actually, fairy-tale quality is the most taking and attractive trait of Olha Morozova’s work.
