Added Oct 10, 2013
For every artist a personal exhibition is always a landmark event. The purpose of an exhibition is to share the sum total of the inner quest and to reveal the artist's novel perception of reality, as well as it is an opportunity to showcase his or her newly discovered ways of expression.
Evidently, the latest two series of paintings presented by Ekaterina Abramova are deeply rooted in her lifelong spiritual quest. Symbolism and archetypes had attracted Ekaterina in the past as they still do now. She is presently drawing her inspiration from the symbolic pool of the Russian Orthodox icon-painting - such is her new canvas titled "Abstraction". The titles of this collection suggest an elated flow of consciousness: *Volition*, *Conception*, *God"s Grace*, *Succour*, *Accomplishment*. Invoking the symbolism employed by Russian icon-painters for centuries, Ekaterina is capable of transcending the boundaries imposed by this particular religious view and the result is quite thrilling.
It's in the nature of symbols to evoke different interpretations. Let us try to express in mundane terms that particular manifestation of Almighty God which is called *Volition*, the primary impulse that awakens everything into being. What we see on the canvas is a combination of geometrical shapes. The focal point, where all the lines merge, is the Source. The light is emanating from the white square as darkness engulfs the periphery. There is this combination of a circle, a sphere and a triangle (Trinity), a square (Heavenly Trinity projected onto matter), an eight-rayed star (symbol of the Son of God, the Bodhisattva) - all of these symbols are understood alike by Russians, Hindus and Egyptians. I am referring to these particular world-views, because each of them bears an ancient knowledge at its core, and there's a common language as well as a mutually resonant and complementary symbolism in these Traditions.
Now that the Volition has been voiced we come in contact with the *Conception*. The lines are morphing into smooth curves and we are now witnessing the primordial creative manifestation of Love. Hence the recognizable holy faces of the Four Spirits by the Throne of Almighty God (located at the four corners of the canvas). Hence also the Monad (the lesser circle) emanating from the Source (the bigger circle). Then, again, we see the quadrangle motive (a projection of the Triad) and the Spirit is now reiterated, this time in its descent into Matter. The boundary between them is outlined with a tentative indigo-colored belt, the colour of the central vertical ellipse - a symbolic representation of the Cosmic Egg. What is amazing here is that if you look on the canvas unfocussed all these colours, figures and lines seem to be revealing a Face!
Here I will go no further in my interpretation than examine just two instances of Ekaterina's work in this series. Actually, it is perfectly clear to me that they will evoke different associations in different people. However, I am positively convinced that no one will be left untouched! This collection has a particular appeal for me due to the fact that it is two-in-one. Ekaterina was able not only to find a solution for a very complex and almost impossible task of alluding to those subtle concepts that we, while dwelling in our human shape, can only occasionally become aware of but never grasp in full. The second part of the task the artist had set for herself may be formulated as the descent of the Monad onto Matter. By the way, it is my impression that this path is the same for any Monad. In the Bible a certain conversation of Jesus with His disciples is related. The disciples approached Him with questions about His true identity. He replied with a question: "Who do you think I am?" and they gave Him different answers. One of them said: "I think You're the Son of God". To this Jesus smiled sadly and said: "All of us we are the Sons of God but you don't know it..." Perhaps the time has come for many of us to realize this truth. This is why the title of the painting is not "Dormition" but "Accomplishment". This is why on the canvas titled "Succour" we see that the Son is surrounded by a host of beings: by living people; by those whom in India they call Rishis and in Russia we call them holy righteous men; by heavenly beings (top row in accordance with the classical tradition of icon-painting); as well as by some other beings placed below and around the cross-like symbol.
*Ages ago...* This work stands closer to the second series titled "Icon motives", however, what we see in that series are not icons but portraits of modern-day people, a contemporary Indian family as a matter of fact! Yet again, it confirms my assumption that Ekaterina Abramova is eager to manifest the existence of the spiritual and imperishable being through the images of comprehensible everyday reality. Are the quotes from the Bible appropriate in this context? No doubt about it! By the way, this device reminds us of the visual tradition of yet another major World religion, namely Islam! It is there that we find ornamental images in mosques and palaces intertwining with verses from the Koran.
*Annunciation*. A middle-aged woman is sitting at a table covered with white tablecloth and on it there is a cup. Her repast is already for her, which is naturally evidenced by her belly and her posture. This is also made clear by the figure of a winged messenger reaching out forth his hands towards her. His figure is quite small, which is meant to say that the future had only been alluded to, that at present it's merely the Good News. The set and setting is conveying simplicity, acceptance of fate and peace.
*Mothers*. Five women are standing in the doorway. Their pleasant faces are bearing soft smiles, they are wearing simple dresses and saris. At first glance there's nothing special except for that unusual brilliance of their eyes as if an Angel is about to land on the shoulder of one of them.
*Luminary*. A mature dark-skinned woman in white sari is walking by. It's the light and the colours of the air and the ground that capture our attention, as well as this elusive smile on her face as if she is talking to a companion no one else can perceive.
Blessing
The same woman is waving with the edge of her robe over another seated mature woman. With her fingers the seated woman is forming some sort of mudra. What mudra is it? It's worth paying more attention to her hand. With the thumb of her other hand she is holding a paper square on her knee. The Good News has been received. Does the medium of delivery really matter? The message can be delivered in any way. The colours of the painting are of great importance, they are: white, terra-cotta, coffee, scarlet, aquamarine...
Resurrection
It's time for a lively and bright celebration! You can even see the glitter of the ceramic tiles on the floor. All the human figurers are saturated with presence in this glorious moment. The liveliest, the most vibrant of them all is a figure of a man - with his head slightly bent forward - in the midst of the crowd. He is the One to whom everyone present is drawn. It's all simple, logical and complete just as simple and logical is the hovering figure with the discus of the Sun in the hands. Even the palm-trees bend their crowns to the focal point of the composition...
The paintings of Ekaterina Abramova convey a wholesome and lasting emotion of quiet and powerful joy. It's almost like there's a Promise blowing in the air. May this Promise uplift the hearts of everyone who comes in touch with Ekaterina Abramova's talent. She is a noble soul testifying to the elating Truth of God and cherishing in her heart the spiritual bound with Russia and India.
Namaste!
Margarita Krylova,
Literary artist,
Russia
source:
http://artabramova.com/index.php/en/news/item/1408-india-in-my-heart-faces-and-symbols