My name is Natasha Kanevski, I specialize in sculptured expressionistic paintings.
I was born in Belarus, most of my life lived in Israel, then in California, and now – in Texas, which allowed me to bring the best of all cultures into my art. I spent my childhood in my mother’s studio, where I discovered my passion for textured and colorful abstract art, and never stopped creating since then.
I’ve participated in multiple Art Shows, and Art Markets in Texas, have just had a Solo Exhibition at Degallery, Bryan, TX (Nov 2020 - Jan 2021). The Next Art Show is planned to March 2021 at the same gallery.
We all look at life quite polarly, we select from the environment-specific objects and phenomena that are significant for us. Sometimes we do that intentionally, or we cannot do otherwise. All of us now (# covid19) have a vital need to focus on what, like a crutch, helps to move to the moment here and now, closing our eyes to our life situation. The way we do this distorts reality, simplifies it to two sentences, makes it look clumsy, somewhat rough and even vulgar.
This selectivity of attention (mine and others – I am not alone), the way it inevitably distorts reality, sticking out, and greatly exaggerating specific details, is the theme and idea of my work.
I need to excite a person's consciousness and start a dialogue with her/him, showing the power of simplification, by which I am trying to explain this world. Usually, I express this by heavy texture, by sculpturing with acrylic paint, modeling paste, and styrofoam on a canvas's surface. I want to get out of the canvas, but not tear myself away from it, going ultimately into the sculpture.
The point is I'm researching the form. The material I use when creating the 3D object tells me what shape the artwork should take. I like to show the object in the opposite texture. For example, delicate weightless flower's petals are depicted in my artworks as voluminous and massive, rough, simplified. Such a painting communicates the fragility of life itself rather than describing the appearance of a particular flower. It is not the flower that is conceptualized, but what we like in its fragility.
In my sculptured paintings I mostly use vibrant strident pure colors to express even more an emotional state, rethinking expressionism, and fauvism together.