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Oksana Veber


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Painting, Drawing 153 Followers Member since 2005
United Kingdom

Biography

Originally from Siberia, artist painter working from her studio on London Bridge.
Oksana's work is wide ranging, from landscape, still life to portrait.

Originally from Siberia, artist painter working from her studio on London Bridge.
Oksana's work is wide ranging, from landscape, still life to portrait. Read less

Veber Oksana

page 3, Art magazin "Les Cahiers de la peinture" n. 363, France 2002. Visite d'exposition.


page 3, Art magazin "Les Cahiers de la peinture" n. 363, France 2002.
Visite d'exposition.


The Summer Is Not Yet Over.


The Summer Is Not Yet Over.

Skirting August 17 and running through October 17, AmCham in association with the ARTEast gallery will be hosting a new art exhibition entitled "Gleaming Summer" by Oksana Veber. Oksana Veber was born March 31, 1967 in Barnaul, Russia, in the Altaj Region. At 9 she moved with her tamily to Chernihiv, Ukraine where she lived until entering an art college in Briansk, Russia at 15. She would have continued her education in art in Moscow, but after the Chernobyl disaster in 1989 she returned to her home in Ukraine out of concern for her family. Oksana studied at the Kyiv Art Academy from 1989-1992 but never graduated because of the birth of her son.
Oksana has been drawing for as long as she can remember. After receiving her education in art, Veber has done a variety of jobs from making stained-glass window to working in computer design. She has participating in exhibitions since 1987, but only over the past 5 years has she been become more actively involved in such activity, as well as holding personal exhibitions in Kyiv, Prague, and Denmark. Works of this young artist can already be found in prestigious galleries in Kyiv and Prague and private collections in many countries including the USA, Germany, France, Italy, and South Africa.
Oksana's painting style has undergone quite a transformation over the years. Her first paintings were landscapes. During this period her works reflect her fascination with Daocism and other Eastern philosophical ideas with themes such as peace, harmony, and emptiness. Oksana Veber's later works convey the same ideas but through her portrayal of women. These charming paintings convey a warm and positive mood. The artist's use of subtle colors ranging from warm wood to gold and glimmering coppers creates quite a sensual aura.
Despite her fruitful career as an artist, it seems that Oksana is only beginning to realize her creative potential. The time she spent in Prague, the past four years spent as a student of psychology, and interaction with different artists and their works have greatly inspired her to explore new themes through her paintings and develop as a person. Veber is planning to open personal exhibitions first in Ukraine and then in other countries of Europe on human interaction and its transforming effect on the person.


page 2, Art magazin "Les Cahiers de la peinture" n. 363, France 2002. Visite d'exposition.


1 page, Art magazin "Les Cahiers de la peinture" n. 363, France 2002.
Visite d'exposition.


1 page, Art magazin "Les Cahiers de la peinture" n. 363, France 2002. Visite d'exposition.


1 page, Art magazin "Les Cahiers de la peinture" n. 363, France 2002.
Visite d'exposition.


"Sea Dream" - PUCKO OTVORENO UČILIŠTE, PREKO 22.09.2011


Tečaj vrijedi od 22.09.2011. KULTURA OBJAVLJENO 18.08.2011. / 09:52 h
U PUČKOM OTVORENOM UČILIŠTU, U PREKU
„Morski san“ umjetnice Oksane Veber


Autor: Martina Sikirić - VOX GLAS ZADRA
U Galeriji Pučkog otvorenog učilišta Dom na žalu u Preku otvorena je izložba slika naziva Morski san-Sea dream akademske slikarice Oksane Veber iz Češke Republike.
U sklopu otvorenja nastupile su članice vokalno instrumentalnog sastava Stella Maris, a pjesnik dr. Robert Bacalja pročitao je svoju pjesmu «Nova besida o veloj kobotnici na punti ključa».
Kosta Kostov, organizator programa Međunarodne likovne kolonije Jadertina na kojima je sudjelovala i autorica otvorio je izložbu.
Koraljka Alavanja, povjesničarka umjetnosti se osvrnula na izložbu istaknuvši da svatko od nas teži za mirom, skladom i harmonijom, a da autorica mir pronalazi u ljepoti krajolika, mrtve prirode, portreta žene, a koje se pretočene u harmoniju boja i oblika nastavljaju kao inspiracija za nastanak umjetničkog djela.
U ranijim radovima kolorit je ekspresivan i snažan, zatim se lagano utišava i prelazi u pastelne tonove plavo-sive i oker boje u gradacijama, da bi u najnovijem ciklusu boja gotovo iščezla, kazala je povjesničarka.
- Boje su nanesene širokim potezima, te se nenametljivo kombiniraju i pretapaju tvoreći apstrakciju, koja bi u nekim djelima mogla opstojati kao dovršeno djelo u maniri apstraktnog ekspresionizma. Na takvu slikarsku pozadinu slikarica tehnikom crteža tankim, razigranim, gotovo kaligrafskim potezima crne boje stvara figuraciju, što meditativnoj mirnoći pozadine daje živost i otvara prostor za novu priču – navela je.
Ante Brižić, direktor Turističke zajednice Općine Preko zahvalio se autorici što je odabrala otok Ugljan odnosno Preko za postavljanje svoje izložbe. Izrazio je zadovoljstvo što upravo u spomenutim područjima Oksana pronalazi inspiraciju.
Autorica je uz zahvale svima istaknula kako se na otoku Ugljanu osjeća kao kod kuće, te da je postao njen drugi dom.
Oksana je rođena u Atlajskoj regiji u Rusiji, diplomirala je na Likovnoj akademiji lijepih umjetnosti u Kijevu. Iza nje su brojne samostalne i skupne izložbe


International Art Program in Bulgaria.


International Art Program in Bulgaria.


London Bridge Studio


London Bridge Studio


The Oksana Veber story.


The Oksana Veber story.


The Oksana Veber story.
Oksana Veber is an artist of international reputation and rare distinction. Originally from Barnaul, in the Altaj, above the snow line on the Russian border with Mongolia, China and Kazakhstan, she hails from one of the most politically and geographically isolated corners of the modern world.
Of her childhood she remembers the intense cold, which lasted most of the year. Her grandfather would tunnel through the Siberian snow from the house to reach the street, the stables or the sauna, and she would hollow out ice caves, where she imagined herself as characters from the Tales of Hoffman or Hans Christian Andersen. Summers were spent collecting mushrooms and berries, or feeding the wild 'unicorns' in the forest, as the Siberian Taiga burst into life for a few short weeks before the snow buried the village again.
No sensible person would choose to live in these conditions, and in fact the Vebers are not from Siberia, but from Brandenburg, outside Berlin. During the Russian occupation of Eastern Germany the KGB abducted the entire Veber family to Kosiha in the Siberian Gulag. Oksana's grandparents, Karl and Ida, and Ida's mother Elise, were each sentenced to fourteen years' hard labour, and were released only in 1956 in a regime latterly exposed by Alexander Solzhenitsyn in The Gulag Archipelago. Karl and Ida, on their release, settled nearby in the village of Sosnovka, on the River Ob, where, as former political prisoners and as Germans, they were now ostracized by their neighbours, and soon after Karl was sentenced to another 25 years.
Karl never expected to survive, or see Ida again, and indeed had three more children in the Gulag with another political prisoner. Karl and Ida's two sons, Willy and Rudolph, were also born and raised in the Gulag, yet both were very ambitious, and they now moved to Barnaul in pursuit of higher education. Willy later married Praskovia, from Ukraine, and Oksana was born soon after. At the same time Praskovia's father had died in the war and Praskovia's mother also died giving birth to Praskovia, her thirteenth child. Praskovia's brothers and sisters then raised Praskovia and such was their determination to succeed. that this family of children also moved to Siberia, indeed Barnaul, for the educational and cultural opportunities which were now emerging in the region. Thus the two families finally met.
Oksana was a child prodigy, in the Russian tradition, from the beginning. From a specialist art school at the age of 9, she then went to Bryansk Art College at age 14, where she graduated. As a student she was coerced into working for the KGB, who gave her a diploma on account of her uncanny ability to produce accurate portraits from verbal descriptions of persons of interest. On graduation she was immediately admitted into the Artists' Union of Ukraine, where her professional career instantly took off with monumental commissions for public buildings and state and international institutions, which she managed from conception to completion from the age of nineteen.
Oksana's work is wide ranging, from landscape to portrait to still life, and also includes graphic, fashion and stained glass design. Today she sells in 43 jurisdictions, from Shang Hai to Los Angeles, and she is particularly noted for her signature portraits of ladies in extravagant hats, often bare breasted and surrounded by cats, sailing boats, birds and horses, alongside the resident swans of her beloved Prague. Of these many characters which populate her canvases she says:
'….. the ladies feed the cats and the cats protect the ladies, but all my characters seem to symbolize the pursuit of freedom. I saw my parents coerced by the KGB into joining the Communist Party, for fear of losing their jobs, and I experienced the same rampant corruption myself. The veil which separates us from chaos is very thin and threatens to tear at any moment. Some of my artist friends are in jail in Russia today for their opinions, and when I arrived in the UK, in 2007, for my first exhibition here, I was shocked to hear English friends laugh at politicians, the police and the Royal Family in a manner which is completely unthinkable in the former Soviet Union. Only now did I begin to see that real creative freedom of expression was possible....'
Oksana has known hardship and prejudice only too well and it is surely the quest for freedom that we find distilled and concentrated in her canvasses, both in her subject matter and in her paramount painterly technique. This is her unique contribution and importance as an artist, and her work is surely deserving of the widest possible recognition and acknowledgement in this regard. Oksana's work can be viewed at:
www.veberoksana.com
https://www.facebook.com/veber.oksana.art?ref=hl

Danny Israel in conversation with Oksana Veber.
23 Jan 2015


'' ART Show'' - Municipal Gallery, Teplice, Czech Republic, 2004.


'' ART Show'' - Municipal Gallery, Teplice, Czech Republic, 2004.


Art Studio in Blackfriars Road 2013


Art Studio in Blackfriars Road 2013


"The Sounds of Art" Copenhagen 2009


''Four Seasons'', Artmaster, Prague, Czech Republic, 2003.


''Four Seasons'', Artmaster, Prague, Czech Republic, 2003.


Beroun Czech Republic Studio


Beroun Czech Republic Studio


''The Song of Sun'', Gallery Etienne de Causans, Paris, France, 2003.


Les Cahiers de la Peinture n. 363, Paris, France, 2003
Les Cahiers de la Peinture n. 363
Visite d'exposition
Oksana VEBER

Un bel ensemble de peintures figuratives d'Oksana Veber (nйe en URSS en 1967 et йtablie а Prague) a йtй prйsentй rйœmment а la galerie Etienne de Causans (1) par M. Claude Zlotzisty, admirateur de l'œuvre de cette jeune femme peintre.
Dans ce travail, l'image de la femme est dominante, de sorte qu'on peut considйrer qu'elle est le thиme de l'exposition : une femme belle et svelte, aux traits fins, le cou long, le visage ovale, les yeux en amande, les lиvres charnues, les seins fermes. D'autres attraits sensuels sont suggйrйs pudiquement, tandis que des attitudes, des gestes de la main et l'expression des yeux expriment fortement la volontй de sйduire, mais il y a de la pudeur aussi dans cette expression. Dans la majeure partie des tableaux, la femme est au singulier. Quelques œuvres, trois, me semble-t-il, rйunissent deux femmes : Le Duo (des violonistes) ; Ouverture (deux tкtes de femmes et un cygne ; Vieux Miroir, seule composition figurant une tкte d'homme et une de femme). L'image du cygne se rencontre plus d'une fois dans les compositions, prйcisйe ou esquissйe, et cela porte а penser qu'elle vйhicule peut-кtre une allusion qui ne devrait pas кtre nйgligйe. En effet, elle compte comme un йlйment pertinent dans un ensemble de constatations qui appelle l'attention vers la musique. En mкme temps que l'on constate des occurrences du cygne, on remarque des titres qui renvoient a la musique: Duo, Chante violon, Ond'tne, Ouverture... S'y ajoutent des images du violon et d'une boite а musique (dans une œuvre intitulйe Une petite Citronnade, oщ la femme, les yeux bridйs cette fois, et la peau jaune, tourne la manivelle de la boite sur laquelle on voit une danseuse en tutu et un danseur, et en-dessous trois paires de dыmes du Kremlin). Le cygne associй а la musique йvoque spontanйment le quatuor а cordes de Tchaпkovsky, Le Lac des cygnes. Un gros coquillage marin est йgalement une figure frйquente dans les accessoires de composition, et l'on connaоt sa connotation auditive.


Los Cahiers do la Peinture n. 363

La portйe et l'inspiration poйtiques des œuvres de Oksana Veber se dйterminent ainsi sous et vers des rйfйrences musicales. Patite Citronnado, piиce dйcrite ci-dessus, pourrait кtre une allusion а la symphonie de Tchaikovsky, Petite-russienne, dйdiйe aux territoires ukrainiens.
Le tableau intitulй Ondine fait peut-кtre rйfйrence а l'opйra du mкme nom, du compositeur citй, qui par ailleurs a йcrit quelques Ouvertures, titre qui se retrouve dans le rйpertoire des tableaux de cette exposition... Il y a un tableau Inspirй par le Jazz et ainsi nommй, la femme y joue de la trompelte..
Les couleurs des tableaux sont chaudes, dominйes par des rouges et des ocres denses, convenant a l'йvocation d'une musique romantique.
Formйe en URSS (а Briansk, puis а Kiev) et en Tchйcoslovaquie communiste (в Prague), Oksana Veber appartient а la plus jeune gйnйration des plasticiens des pays de l'Est oщ il y a, comme on sait, des transformations йconomiques et culturelles, entre autres. Il est intйressant aujourd'hui de connaоlre les directions prises par la jeunesse de ces pays depuis le recul des options rйalistes socialistes pour les beaux-arts. A ce titre, dйjа, l'exposition rйcente (1) des peintures de Oksana Veber appelle l'attention. On sait, par ailleurs, que les arts plastiques de la Tchйcoslovaquie, oщ Oksana Veber est йtablie (sa production est reprйsentйe en galerie, а Prague, de faзon permanente) font l'objet en France d'un intйrкt soutenu depuis qu'on a fкtй en 2002 une saison tchиque qui a tenu l'affiche de mai а dйcembre, avec notamment les expositions Praga Magica а Dijon et Lanterna Magika а Paris.
Le travail d'Oksana Veber, quoique sa formation se soit accomplie а la fois а Kiev et а Prague, me semble plus inscrit dans une continuitй artistique tchиque que russe, car il contient des analogies avec l'art autrichien de la Sйcession de Vienne qui a attirй en son temps les artistes tchиques ; les Russes ne l'ont pas introduit dans les conceptions esthйtiques de la peinture proprement dite, car elle йtait dominйe chez eux par les vecteurs idйologiques du futurisme et du rйalisme socialiste, et car leur habitude dans l'intйrкt pour l'art йtranger est de porter leur regard surtout vers la peinture franзaise.

a Peintura n. 363

L'analogie des reprйsentations d'Oksana Veber avec le Jugendstyl des Viennois (dit Art Nouveau en France el en Belgique, et Modem Style en Grande Bretagne), qui fut un mouvement йtendu sur une grande partie de l'Europe, faisant valoir la compatibilitй du beau et de l'utile, se dйduit de l'exaltation de la courbe et la spirale, traits caractйristiques de son dessin. Elle se dйduit aussi de l'йmergence de ses tableaux d'un sens esthйtique йvoquant les arts extrкme-orientaux, caractиre connu de l'Art Nouveau
Tous les traits posйs par Oksana Veber sur le support pictural, pour reprйsenter les personnages ou les objets sont des volutes ou tendent vers cet aspect qui retrouve la forme lйgиre du signe chinois ou japonais.
Le choix d'un support de gabarit diffиrent de celui des formats standard de la
peinture occidentale, un gabarit de parchemin, rectangulaire, de petite largeur et de prйsentation verticale, compte aussi comme une analogie avec l'Art Nouveau : songer а Judith, de Gustav Klimt, qui a tenu l'affiche a Paris а l'occasion de l'exposition < Vienne 1900 » au Centre Georges Pompidou..
Il faut aussi se rappeler l'exemple du Tchиque Mucha, qui fut l'un des meilleurs reprйsentants de l'Art nouveau, pour admettre que la maniиre esthйtique d'Oksana Veber, telle que dйcrite, s'inscrit dans une continuitй artistique tchиque.
L'йvocation de la musique, commentйe ci-dessus, s'apprйhende comme une toile de fond ; elle donne aux tableaux un heureux complйment au caractиre Art Nouveau dont la reprise comme style de peinture contemporaine est rare en Europe occidentale, suite peut-кtre в la polarisation du mouvement des idйes dans un dialogue avec l'art des U.S. A.
L'ensemble exposй est de 2003. Quelques œuvres datent des tout derniers mois ; on y constate une йvolution vers la rйduction de la reprйsentation figurйe au profit d'une plastique gestuelle et un rapprochement de l'abstraction.
L'exposition a obtenu du succиs et Oksana Veber compte dйsormais un certain nombre d'amateurs parisiens de son art. Sa maоtrise de son mйtier, la force dйlicate de sa sensibilitй chromatique et la teneur poйtique de tout ce qu'elle peint sont propices в son йpanouissement et sa rйussite а Paris comme les cйlиbres peintres tchиques qui ont brillй au sein de l'йcole de Paris, Franзois Kupka et Georges Kars.

Mondher BEN MILAD

(1) L'exposition s'est dйroulйe а la Galerie Etienne de Causans, 25, rue de Seine, 75006 Paris, du 28 novembre au 5 dйcembre 2003.


"Conversing in Color" Rozanoff Art, Gallery, San Francisco, Exhibition May 1- 30, 2008


Rozanoff Art
355 29th Street
San Francisco CA 94131

Gallery Events:
Exhibition
May 1- 30, 2008
Conversing in Color

Reception May 3, 2-6PM

Conversing in Color

Rozanoff Art Gallery and Canvasations Gallery host an exhibition featuring ten of today’s rising stars in contemporary fine art. All of Eastern European origins, these artists possess rare technical mastery, which each has pursued in an entirely unique direction to produce art that is statement, expression, and storytelling even as it is aesthetics at its best.

Participating artists:
Sergei Adeev: In Adeev’s "NAÏVE" works, the real world meets with fairy tale, and the lively and sometimes amusing characters are caught up in situations that are at once surreal and ordinary. The complex and colorful menageries create an optimistic, humorous, and sometimes satirical mood.

Arseneiy Alihanov: Alihanov's works employ a vibrant palette and are uniquely textural. Influenced by El Greko and Matisse, Vrubel and Miro, Kandinsky and the Eastern School of miniatures, Alihanov makes color come alive in dramatic abstracts and subtle landscapes.

Nikolai Bogomolov: Bogomolov has participated in numerous groundbreaking projects from St. Petersburg to San Francisco, including the "All for One Earth" exhibition. He works in a broad variety of mediums, including oil on canvas, acrylic on hand-made paper, and digital art and computer graphics.

Natasha Dikareva: Dikareva’s sculptures are striking and dramatic, yet earthy and fluid. They take us beyond the noise and rush of modern life, and connect to the simplicity and elegance in nature. Stains, matte glazes, and texture create the aura of ancient artifacts in her sculptures - seemingly, products of the spontaneous genesis of natural forces — Fire, Wind and Water.

Sabir and Svetlana Gadzhiev: This artistic duo met at the world-renowned Repin Academy of Art in St. Petersburg, Russia. Every work is a collaborative effort by the artists. The Gadzhievs’ paintings of fantasy and whimsy incorporate a variety of techniques and multidimensional forms, and evoke the sense of a distant, magical, and ambiguous universe.

Igor Lazarev: Lazarev applies his exquisite brushwork, reminiscent of the Dutch masters, to a surrealistic vision of a metaphysical world inhabited by mystical creatures. The artist's opulent works hint at other worlds, expressed in a uniquely detailed style and a luminously velvet texture that is completely his own.

Sergei Plotnikov: In Plotnikov's paintings, imagination and hyper-realism merge. His works often juxtapose unexpected themes and objects. They are built in planes, on the principles of theatrical sets. Then the characters appear—floating in these environments like highly expressive apparitions.

Simon Shegelman: Shegelman's art carries a luminescence that is simultaneously romantic and philosophical. Remaining faithful to the ancient axiom that painting is silent poetry and poetry is the painting that speaks, Shegelman arranges colors in what is truly a poetic reflection on the world around him.

Oksana Veber: Veber's paintings reflect a fascination with Taoism and other Eastern philosophies. The current series of works convey the themes of peace, harmony, and emptiness through the portrayal of women. These images carry a warmth and optimism, incorporating subtle colors and sharp accents that create a highly sensual aura.

Lilly Willis: Willis’ unique technique, called “liquid glass,” gives her paintings the look of polished semi-precious stone, glimmering beneath the still waters of a quiet pond. Her figurative works surprise with soft, sensual forms emerging from the cold, hard stone. Her abstracts integrate wild, natural elements and complex geometric order.


Croatia outdoors painting in Zelena Punta, Island Ugljan.


Croatia outdoors painting in Zelena Punta, Island Ugljan.


Art workshop Croatia 2007


Art Exhibition Teplice, Czech Republic 2004


Art Exhibition Teplice, Czech Republic 2004


AMERICAN CHAMBER OF COMMERCE IN UKRAINE, December 17th, 2002


AMERICAN CHAMBER OF COMMERCE IN UKRAINE
42-44 Shovkovychna vul., LL1 Floor, Kyiv 01004 Ukraine Telephone 490-5800, Fax 490-5801
acc(g),amcham.kiev.ua www.amcham.kiev.ua

December 17th, 2002
Ms. Oksana Veber
Dear Ms. Veber,
On behalf of the Board of Directors and the Members of the American Chamber of Commerce in Ukraine, I would like to thank you for your recent donation of artwork to the Annual AmCham Holiday Charity Ball in Kyiv. The guests of this year's very exclusive event were treated to a Charity Auction of beautiful art work donated by you and coordinated by ARTEast. The Ball this year was a resounding success and that credit belongs in large part to your participation and generous donation.
As you are aware, the Annual AmCham Holiday Charity Ball is a charitable event and this year all funds raised will be donated to worthy charities throughout Ukraine in conjunction with the Eurasia Foundation's Corporate Matching Grants Program. We will be working closely with the Eurasia Foundation to identify and implement projects that will utilize this money wisely and with the most impact. The Eurasia Foundation will also match each dollar for dollar thereby doubling the much needed funds raised at the Ball.
The American Chamber of Commerce in Ukraine is excited and proud to have the privilege of coordinating this event again next year, and we look forward to your involvement to make it even more successful and high profile than this year.

Board of Directors: Jeff Howley, EMPIan, Inc - Chairman; Eric Franke, Ukrainian Mobile Communication - Vice Chairman; Myron Wasylyk, The PBN Company - Vice Chairman; Mick Mullay, Consortium for the Enhancement of Ukrainian Management Education -Secretary; Jacques Mounier, Credit Lyonnais Bank Ukraine - Treasurer; Volodymyr Bobko, Marsh Ukraine Ltd., Patrick Bracken, Cargill; Marco Groen, Ernst & Young; Mark Iwashko, Western NIS Enterprise Fund: Bjorn Markstedt. Avis Rent A Car & Leasing; Andrew Seton, European Bank for Reconstruction & Development; Sergey Yatsenko, Motorola.
Legal Counsel: Adam Mycyk, Altheimer & Cray
President: Jorge Zukoski


Bulgaria Balcik Art Exhibition 2007


Bulgaria Balcik Art Exhibition 2007, Artworkshop.


Croatia outdoors painting in Zelena Punta, Island Ugljan.


Croatia outdoors painting in Zelena Punta, Island Ugljan.


Exhibition ''A Different Way of Seeing'', ARTEast gallery, Kiev, Ukraine, 2003.


Improvisation of the artist Oksana Veber.

Dmitrij Korcyn, art critic of BZ Art Union. 1998 year.

The Creative development of Oksana Veber is found to be endlessly enriching. From her first academic paintings, up until today, is to be found light, lyrical, refined fantastic works. In her creative activity she develops ideas and criteria of the painting and thematic practicability of her artistic style.
Her first Personal exhibition in Prague, has definitively confirmed her artistic and emotional legitimacy, and the formation of her artistic style is open to further development. The paintings of Oksana Veber gives certain burlesque beginnings to the scenic action, involvement in the play, in whimsical world dreams, where reigns free improvisation of the fairy-tale plot, and the final of the play is open for guesswork and suggestions.
The liberally flowing lines of her subjects emphasizes even moreso the randomness of the scenes and actions, even moving beyond the edge of the canvas. These live improvisations carry in themselves special dynamics and create the sensation of fragility and careful attention. The Asymmetric edge of the drawing with bright scenic action reminds one of the unforgotten part of ones night dream, or plucking a page from the manuscript in the library of doctor Kalligari.
Vebers’ inherently expressive style creates a kind of Gothic feel to the subjects she deals with. She sees the other side of things and their interlocutory with ambience, aptitude to transition and mutation and emotional change. Sometimes, (unexpectedly) in the plot of her story, there penetrates the world, phantasmagoric and frightening. Just like Gofman or Gogol, it is present in the plot layers of the canvas. Sometimes, in warm and vague mirage,
there begins to ooze, as from the early morning mist, the first contours of the images unfolding. From this absolutely colourful ambience, where it is not necessary to separate the four elements, but where they are present all together, suddenly appears through the contours of the feminine body one more element - an element of desire and passion.
Specifically, it is necessary to note the main heroin of the Oksana Veber paintings - waiting, dreaming, in the surroundings of the city, seaside, home, emphasizing her feminine grace and movement. Sometimes, barely audible, there is an air of solitude and imagined communication, awaiting the arrival of somebody else.
This is conveyed by the use of a door standing ajar or a dimly lit candle or a round table with a chair set expectantly beside it.
The Artist possesses the childlike ability to see and notice the birds, fish, rabbits, cats, and brightly coloured flowers blooming from a vase.
Like a candle burning through the night, melting into its candle-holder, like the facial expression of a person, made to relax by the God of night dreams - Gipnos, the subjects in her works are shaped by the emotional expression that is formed by the internal heat coming from them.

The beginning of the night mystery is felt in the plot of the narrative of her pictures; the shade, cat, door opened slightly in darkness, measured approach absorbing passions. The Deep desire, eroticism, ability of the subject to merge or conflict and divide them, vital dualism - persuasively dominate in her work. The Presence, the departure, the arrival of the woman - her denuded body from the dreams, from forgotten epochs of the romantic era, the world of the alchemist and the violinist from the music box from the times of Amadeus Mozart. The Body of the woman is interpreted by the smooth and confident lines, more and more gravitate to the formula, sign, expressive, music, reminding one of a treble clef.
Herewith often appears the sea - as a ghostly motive, memory-dotted line, flowing around the contours of the subject, the contours of the bodies.
In all picturesque and graphic work Oksana Veber underlines free arrangement, improvisation, jazz harmony in any one of the instruments, leading its and the general themes. The freedom and sonority colour and pliability, modern rhythms and the forms figuratively complement each other, forming inimitable and light creative style of the artist.
1988 Dmitrij Korcyn


Exhibition in Tourist office in Kukljica,Croatia at 2-30th of September 2009.


Izložba Izložba slikarice Oksane Veber u Kukljici 2. rujna

26.08.2009
Zadar

Nakon ove izložbe, njeni radovi bit će izloženi početkom listopada mjeseca u Muzeju antičkog stakla u Zadru

U srijedu, 2. rujna 2009 u 18 sati otvara se izložba umjetnice Oksane Veber. Otvorenje će se održati u Turističkom uredu u Kukljici. Ovo je druga izložba umjetnice Oksane Veber u Kukljici, a prvu izložbu je imala 2007 godine.

"Škripka" Oksana Veber

Nakon ove izložbe, njeni radovi bit će izloženi početkom listopada mjeseca u Muzeju antičkog stakla u Zadru.

Više informacija o radu Oksane Veber potražite na njenim web stranicama

autor: ezadar.hr


Art workshop in Balcik, Bulgaria


Prachen Museum


My atelier in Beroun 16.6.2007


My atelier in Beroun, Czech Republic, 16.6.2007


Exhibition of Oksana Veber, Kukljica, Croatia 16.09.2007


U srijedu, 19. rujna 2007. u 14 sati otvara se izložba umjetnice Oksane Veber. Otvorenje æe se održati u Multimedijalnom Kulturnom Centru u Kukljici. Osim Oksane Veber, svoja djela izlagat æe i njen sin, Bohdan Altunin, student kiparstva u Pragu. Otvorenje æe popratiti glazbeni duet sa španjolskim instrumentalnim pjesmama.
Njeni prvi radovi bili su vezani uz slikanje krajolika. Njena fasciniranosti istoènjaèkom filozofijom i temama mira i sklada reflektira se u njenim slikama. Meðutim, njeni posljednji radovi ponajviše su vezani uz portrete žena.

Oksana Veber veæ nekoliko godina sudjeluje u Jadertini èiji je program koncipiran kao moguænost okupljanja i zajednièkog rada umjetnika iz europskih zemalja radi razmjene iskustava predstavnika raznih likovnih miljea, a u svjetlu integracijskih procesa suvremene Europe. Posebna joj je želja da svoje radove prezentira u Kukljici, u mjestu gdje je napravila veæinu svojih posljednjih slika. Nakon ove izložbe, njeni radovi bit æe izloženi u Londonu.


Govoreæi o svom radu, Oksana kaže:

In my painting and life I look for the expression of the beauty. When see that causes the sensation of the beauty and harmonies this attracts and inspires. From childhood till today I love to observe motion in nature, can hour by hour to sit on tree beside ravine, meeting first rays sun and accompanying ribbons of the mist slowly crawling away on herb.

Harmony of the women’s body line, harmony in landscape, still life. The Color and Line, this magic give me inspiration. Send this feeling of harmony on the canvas - my goal. The Pictures often come to me in night dreams, combination of color, composition all is so real, it is necessary only to have time to sketch it before image disappear in day reality.

When I paint, to me comes the special condition of the flight feeling. The Process of painting sweet as temptation, but when work is finish yet, approaches as provision after falling in love and canvas do not pleases anymore unless it is reached that dried peaches fantasy.


Art workshop in Croatia


Второй год я учавствую в международных программах хорватской художественной организации Ядертина. В этом году мы посетили несколько островов, делая небольшие выставки. Мы общались с жителями, писали картины и просто впитывали своеобразную красоту Долмации. Продолжением программы был Арт в Брушке в горах, где мы жили в монастыре. Дикая нетронутая рукой человека природа, величественные горы. Все это по духу очен отличалось от камерной уютной красоты островов.
Это прекрасно выйти из своей мастерской и отправиться в путь, полный сюрпризов. Встречи с художниками из разных стран, богатое общение, работа над картинами, совместное обсуждение и рождение новых идей.
Это очень хорошая традиция- пленер для художников.
Я надеюсь в будущем учавствовать в пленерах разных стран, расширить географию. Художник большую часть времени проводит один на один с холстами, как отшельник.
Подобные акции – пленеры, очень важны для смены точки зрения, переосмысления и движения дальше.


My atelier in Prague 31.03.05


My atelier in Prague 31.03.05


August 17- October 17, AmCham in association with the ARTEast gallery will be hosting a new art exhibition


The Summer Is Not Yet Over
Skirting August 17 and running through October 17, AmCham in association with the ARTEast gallery will be hosting a new art exhibition entitled "Gleaming Summer" by Oksana Veber. Oksana Veber was born March 31, 1967 in Barnaul, Russia, in the Altaj Region. At 9 she moved with her tamily to Chernihiv, Ukraine where she lived until entering an art college in Briansk, Russia at 15. She would have continued her education in art in Moscow, but after the Chernobyl disaster in 1989 she returned to her home in Ukraine out of concern for her family. Oksana studied at the Kyiv Art Academy from 1989-1992 but never graduated because of the birth of her son.
Oksana has been drawing for as long as she can remember. After receiving her education in art, Veber has done a variety of jobs from making stained-glass window to working in computer design. She has participating in exhibitions since 1987, but only over the past 5 years has she been become more actively involved in such activity, as well as holding personal exhibitions in Kyiv, Prague, and Denmark. Works of this young artist can already be found in prestigious galleries in Kyiv and Prague and private collections in many countries including the USA, Germany, France, Italy, and South Africa.
Oksana's painting style has undergone quite a transformation over the years. Her first paintings were landscapes. During this period her works reflect her fascination with Daocism and other Eastern philosophical ideas with themes such as peace, harmony, and emptiness. Oksana Veber's later works convey the same ideas but through her portrayal of women. These charming paintings convey a warm and positive mood. The artist's use of subtle colors ranging from warm wood to gold and glimmering coppers creates quite a sensual aura.
Despite her fruitful career as an artist, it seems that Oksana is only beginning to realize her creative potential. The time she spent in Prague, the past four years spent as a student of psychology, and interaction with different artists and their works have greatly inspired her to explore new themes through her paintings and develop as a person. Veber is planning to open personal exhibitions first in Ukraine and then in other countries of Europe on human interaction and its transforming effect on the person.


Sea Dream.


Kultura
Otok Ugljan kao vrelo inspiracije
Piše: Ivan Stagličić
18.08.2011.
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Od prvih radova do danas umjetnica je kroz istu filozofsku postavku i motive razvijala svoj rad mijenjajući ga stilski i istražujući slikarski medij kombiniranjem utjecaja različitih umjetničkih epoha prilagođavajući ih vrlo uspješno vlastitom duhu i inspiraciji koju pronalazi u sebi, kazala je Koraljka Alavanja

U galeriji Pučkog otvorenog učilišta "Dom na žalu" otvorena je izložbaU galeriji Pučkog otvorenog učilišta "Dom na žalu" otvorena je izložba "Morski san - Sea dream", češke slikarice Oksane Veber. Oksana Veber završila je Akademiju likovnih umjetnosti u Kijevu, a dosad je izlagala u Ukrajini, Češkoj, Danskoj, Francuskoj, Velikoj Britaniji i SAD-u, a posebno su zapažena bila njezina oslikavanja javih prostora i građevina. O radu Oksane Veber, okupljenima je govorila povjesničarka umjetnosti Koraljka Alavanja:
- Slikarica Oksana Veber mir pronalazi u ljepoti krajolika, mrtve prirode, portreta žene, koje se pretočene u harmoniju boja i oblika nastavljaju kao inspiracija za nastanak umjetničkog djela. Vodeći se tom težnjom za skladom i istražujući teme kao što su mir, harmonija i praznina, umjetnica je istraživala taoizam i istočnjačku filozofiju te je svoje nagnuće i otkrivenje prenijela na slikarsko platno. Odjeke tih utjecaja prepoznajemo prvenstveno u slikarskom pristupu kojim umjetnica stvara pozadinu za svoje likove, definiranu samo kolorističkim efektima. U ranijim radovima kolorit je ekspresivan i snažan, zatim se lagano utišava i prelazi u pastelne tonove plavo-sive i oker boje u gradacijama, da bi u najnovijem ciklusu boja gotovo iščezla u monokromiju toplih nijansi sive kroz koju kao svjetlosni efekt prodire bjelina. Boje su nanesene sa širokim potezima te se nenametljivo kombiniraju i pretapaju tvoreći apstrakciju, koja bi u nekim djelima mogla opstojati kao dovršeno djelo u maniri apstraktnog ekspresionizma. Na takvu slikarsku pozadinu slikarica tehnikom crteža tankim, razigranim, gotovo kaligrafskim potezima crne boje stvara figuraciju, što meditativnoj mirnoći pozadine daje živost i otvara prostor za novu priču, istaknula je, između ostaloga, Alavanja te zaključila:
- Od prvih radova do danas umjetnica je kroz istu filozofsku postavku i motive razvijala svoj rad mijenjajući ga stilski i istražujući slikarski medij kombiniranjem utjecaja različitih umjetničkih epoha prilagođavajući ih vrlo uspješno vlastitom duhu i inspiraciji koju pronalazi u sebi.
Otvorenje izložbe uveličale su mlade dame iz vokalno instrumentalnog sastava Stella Maris koje su otpjevale dvije pjesme "Vjerujem" i "Vječna pjesma ljubavi", te pjesnik prof. dr. sc. Robert Bacalja koji je pročitao jednu od svojih novijih pjesama "Nova besida o veloj kobotnici na Punti ključa".
Nazočne je pozdravio Ante Brižić, direktor TZ Općine Preko, darovavši umjetnici buket cvijeća i zaželjevši joj ugodan boravak na otoku Ugljanu. U svom obraćanju nazočnima, Oksana Veber zahvalila je svima i otkrila kako je otok Ugljan postao njezin drugi dom i izvor stalne inspiracije. Osobito joj se svidjela galerija Doma na žalu za koju je posebno pripremila izložbu "Morski san-Sea dream". Izložbu je otvorio akademski slikar Kosta Kostov, organizator programa Međunarodne likovne kolonije Jadertina preko koje je i Oksana Veber upoznala i toliko zavoljela otok Ugljan i Hrvatsku.
, češke slikarice Oksane Veber. Oksana Veber završila je Akademiju likovnih umjetnosti u Kijevu, a dosad je izlagala u Ukrajini, Češkoj, Danskoj, Francuskoj, Velikoj Britaniji i SAD-u, a posebno su zapažena bila njezina oslikavanja javih prostora i građevina. O radu Oksane Veber, okupljenima je govorila povjesničarka umjetnosti Koraljka Alavanja:
- Slikarica Oksana Veber mir pronalazi u ljepoti krajolika, mrtve prirode, portreta žene, koje se pretočene u harmoniju boja i oblika nastavljaju kao inspiracija za nastanak umjetničkog djela. Vodeći se tom težnjom za skladom i istražujući teme kao što su mir, harmonija i praznina, umjetnica je istraživala taoizam i istočnjačku filozofiju te je svoje nagnuće i otkrivenje prenijela na slikarsko platno. Odjeke tih utjecaja prepoznajemo prvenstveno u slikarskom pristupu kojim umjetnica stvara pozadinu za svoje likove, definiranu samo kolorističkim efektima. U ranijim radovima kolorit je ekspresivan i snažan, zatim se lagano utišava i prelazi u pastelne tonove plavo-sive i oker boje u gradacijama, da bi u najnovijem ciklusu boja gotovo iščezla u monokromiju toplih nijansi sive kroz koju kao svjetlosni efekt prodire bjelina. Boje su nanesene sa širokim potezima te se nenametljivo kombiniraju i pretapaju tvoreći apstrakciju, koja bi u nekim djelima mogla opstojati kao dovršeno djelo u maniri apstraktnog ekspresionizma. Na takvu slikarsku pozadinu slikarica tehnikom crteža tankim, razigranim, gotovo kaligrafskim potezima crne boje stvara figuraciju, što meditativnoj mirnoći pozadine daje živost i otvara prostor za novu priču, istaknula je, između ostaloga, Alavanja te zaključila:
- Od prvih radova do danas umjetnica je kroz istu filozofsku postavku i motive razvijala svoj rad mijenjajući ga stilski i istražujući slikarski medij kombiniranjem utjecaja različitih umjetničkih epoha prilagođavajući ih vrlo uspješno vlastitom duhu i inspiraciji koju pronalazi u sebi.
Otvorenje izložbe uveličale su mlade dame iz vokalno instrumentalnog sastava Stella Maris koje su otpjevale dvije pjesme "Vjerujem" i "Vječna pjesma ljubavi", te pjesnik prof. dr. sc. Robert Bacalja koji je pročitao jednu od svojih novijih pjesama "Nova besida o veloj kobotnici na Punti ključa".
Nazočne je pozdravio Ante Brižić, direktor TZ Općine Preko, darovavši umjetnici buket cvijeća i zaželjevši joj ugodan boravak na otoku Ugljanu. U svom obraćanju nazočnima, Oksana Veber zahvalila je svima i otkrila kako je otok Ugljan postao njezin drugi dom i izvor stalne inspiracije. Osobito joj se svidjela galerija Doma na žalu za koju je posebno pripremila izložbu "Morski san-Sea dream". Izložbu je otvorio akademski slikar Kosta Kostov, organizator programa Međunarodne likovne kolonije Jadertina preko koje je i Oksana Veber upoznala i toliko zavoljela otok Ugljan i Hrvatsku.


Exhibition “Sea Dream”, POU Dom na Zalu, Preko, Island Uglijan, Croatia 09.2011-06.2012


The dance of shadows

There are different sources on which we feed in our quest for peace, equivalence and harmony. Artist Oksana Veber founds harmony in the beauty of the landscape, still life, woman's face, which, transferred into the harmony of colors and forms continue they life in art work. Guiding her through the need for equivalence and exploring themes like peace, harmony and emptiness, the artist – influenced by the ideas of Taoism and Eastern philosophy - transferred her longing and revelation on the canvas. From her first works to the present days she developed her work relayed on that same philosophical thought, developing her work by changing it through different styles and exploring the medium of painting and yet modulating it according to her spirit and inspiration she founds inside herself. Female portrait is main motive in most of the paintings. It is usually shown as sensual figure, with full lips, almond eyes, and slightly tipped head, that leads us in world of dreams and fairytales. Two paths lead us when we follow this mystic. One has roots are in Jugendstil (Art Noveau) and further in art of Japan that was inspiration to Jugendstil, and in Russian fairytales that we can find in work of Chagall, and the other in tendency toward harmony in choosing colors that evoke Kandinsky and Marc. Artist settles her characters on the background defined with colorist effects, that are, unlike in her early works when they were much expressive and with vivid tones, tranquil and given in pastel tones of blue-gray combination and beige in gradations. Colors, painted in wide brush-strokes combine anintrusivly and melt one in another, making abstraction that in some works could be defined piece in manner of abstract expressionism. On that background painter successfully adds figuration with tiny, playful black lines that give sparkle to meditative tranquility of background and open space to a new story. Much more than in early works now appear double portraits or even more characters on one painting. To former motifs of landscapes and dreamy female figures author adds new inspiration – motif of birds, fishes, music instruments and pottery that she brings in correlation with main subject. She paints them like the main motif with the same, almost calligraphic, brush-strokes and intensifies some silhouettes fulfilling them with color. In adding those motives, although they bring their own poetry, we can feel transfer to greater opening to the world. Now characters are not so alone, closed up in their dreams and wrapped in shroud of mystic, on contrary, they have opened path forward observer through subtle communication with objects it is surrounded with.
Koraljka Alavanja October 2010
„Shadow dance“, Antic Glass museum Zadar, Zadar, Wednesday, 25. November 2009


My lovely easel.


The Russians are comming! Article 1999


The Russians Are Coming!
…..with their tender-minded friends from Ukraine, Canada, France, America…..
By Arie Farnam

The Tender Russian Painters are neither strictly Russian nor necessarily painters and their tactics are not always tender. Six months ago this upstart artists’ cooperative moved to Prague 10 from Khar’kov in eastern Ukraine. They claim to be the first in this country with “performance exhibits” open-genre painting and photography displays complemented by musical and theatrical performances, poetry readings, art discussions and workshops.
Their base, an apartment in Vrsovice, has no electricity yet and the walls are peeling plaster. The faded Persian rugs on the floor are constantly obscured by sheets of canvas, bolts of silk, paints, pallets, stencils, frames, scraps of texture materials, tracing paper, brushes and containers of multi-coloured water.
These sparsely furnished rooms serve as exhibition space, and often as temporary shelter, for 15 artists from Russia, Canada, Ukraine, the Czech Republic, France, America and Germany. Despite the name, the only requirements for membership are that the artists get along together and produce art.
“We leave our passports at the door.” says Igor Tschay, the charismatic Russian organizer of the group. “Here we have no borders, no nationalities. The rules of the group are ‘don’t disturb people or objects around you’ and ‘touch art with love and a sense of fun.’”
The Tender Russian Painters are art fanatics. They don’t play at being artists for a moment. They are too busy turning out paintings, photographs, crafts, silkscreens, drawings and musical compositions. They also stage regular “public collective performances.” For example, upon their arrival in Prague last December, the Tender Russian Painters held a tea ceremony in the middle of Old Town Square.
Art is where you find out
“Our group is about artists who love to make art,” says Oksana Veber, one of the Ukrainian members. “I always wanted to paint. I had to paint every day as a child. I painted day and night and on trains, wherever, I fell ill if I could not paint.” Her garish orange and turquoise paintings emphasize the human female form and cats. She now has 300 small pieces and 15 large landscapes on display at several Prague galleries, twice that many in Kyiv and works in private collections in Germany and America.
Other members include Greek sculptor Gregory Papakitsa, German poet Bernt Steinke, Ukrainian violinist Aleksej Sova, and Tschay’s partner Natasha Bojko, who does silk paintings, ceramics and musical compositions.
Bojko, who was originally slated to become a thermal engineer in Ukraine, says her artistic work was inspired by the French Impressionists and Chinese landscape painters. Tschay, the immensely energetic linchpin of the group, is both painter and poet, although he is a veterinary surgeon by education.
Silk revolutionaries
The group started to form in Cologne, Germany in 1992, when Tschay, who had left Ukraine to escape massive unemployment and general hopelessness to work as an electrician, was invited to take part in the Documenta 9 contemporary-art fair in Kassel. There he made contacts with artists from around the world.
The name Tender Russian Painters emerged only after he and several others returned to Ukraine. “The name just formed of its own will. The original members were mostly Russian and mostly painters. We just never got around to changing it, and besides it sounds good,” Tschay says.
“We are tender,” he says, gesturing to a pastel silk tie-die blooming with sunset colours, “because we try to make everything very sensitive in texture, very gentle on the senses, like silk.”
The styles employed by group members encompass Russian tropical avant-garde, post-impressionist conceptualism and koolism-ocho. Tschay readily admits that the first is a farce. “There is only a very small part of Russia in the tropics. Russian tropical avant-garde doesn’t really exist. We just made it up.”
Post-impressionist conceptualism sprouted from a Moscow group called Medical Hermeneutic in the early 1990s. It uses a similar aesthetic to impressionism, while the subject matter is the exploration to extreme depth of a simple concept, such as “book” or “green.”
Koolism-ocho is a German creation, based on “going with the flow” and the idea that a piece is never completed, that it is “always rolling,” Tschay says, holding a business-card-sized ink drawing of friends sitting at a café table. The image is enlivened by his characteristic lyrical line and overlaid with a geometric pattern in blue magic marker. “In five years or so, I may decide to put some red hair on this guy,” he says pointing to one of the figures.
Free spirits
Their independent, freestyle exhibits and performances describe what the Tender Russian Painters do far better than the artworks they’ve created. Bojko says it is independence that defines their work. “We have a contrary spirit. I can’t do things the way someone wants me to do them,” she says. “If everyone is working in one direction, I will inevitably try something different.”
The members survive mainly through selling their art to private collections. Tschay shrugs and grins when asked about financial survival. “When money enters into art, everything breaks down. Art cannot live around money.
“It is very hard to get by as an independent artist in Russia and Ukraine,” he adds. “It is the same way in America, too. There is so much propaganda. Here in the Czech Republic the propaganda is less pronounced; its voice isn’t so loud yet. Prague is still very free.”
The Tender Russian Painters will open their biggest performance exhibit yet at 6 p.m. on Sept. 18 in the courtyard at Na Spojce 2, Prague 10. The group’s paintings and photographs are currently on display at the Dobra cajovna tearoom in Tabor, south Bohemia.


Exhibition 'The Song of Sun'', Gallery Etienne de Causans, Paris, France 2003.


Les Cahiers de la Peinture n. 363
Visite d'exposition
Oksana VEBER

Un bel ensemble de peintures figuratives d'Oksana Veber (née en URSS en 1967 et établie à Prague) a été présenté réœmment à la galerie Etienne de Causans (1) par M. Claude Zlotzisty, admirateur de l'œuvre de cette jeune femme peintre.
Dans ce travail, l'image de la femme est dominante, de sorte qu'on peut considérer qu'elle est le thème de l'exposition : une femme belle et svelte, aux traits fins, le cou long, le visage ovale, les yeux en amande, les lèvres charnues, les seins fermes. D'autres attraits sensuels sont suggérés pudiquement, tandis que des attitudes, des gestes de la main et l'expression des yeux expriment fortement la volonté de séduire, mais il y a de la pudeur aussi dans cette expression. Dans la majeure partie des tableaux, la femme est au singulier. Quelques œuvres, trois, me semble-t-il, réunissent deux femmes : Le Duo (des violonistes) ; Ouverture (deux têtes de femmes et un cygne ; Vieux Miroir, seule composition figurant une tête d'homme et une de femme). L'image du cygne se rencontre plus d'une fois dans les compositions, précisée ou esquissée, et cela porte à penser qu'elle véhicule peut-être une allusion qui ne devrait pas être négligée. En effet, elle compte comme un élément pertinent dans un ensemble de constatations qui appelle l'attention vers la musique. En même temps que l'on constate des occurrences du cygne, on remarque des titres qui renvoient a la musique: Duo, Chante violon, Ond'tne, Ouverture... S'y ajoutent des images du violon et d'une boite à musique (dans une œuvre intitulée Une petite Citronnade, où la femme, les yeux bridés cette fois, et la peau jaune, tourne la manivelle de la boite sur laquelle on voit une danseuse en tutu et un danseur, et en-dessous trois paires de dûmes du Kremlin). Le cygne associé à la musique évoque spontanément le quatuor à cordes de Tchaïkovsky, Le Lac des cygnes. Un gros coquillage marin est également une figure fréquente dans les accessoires de composition, et l'on connaît sa connotation auditive.


Los Cahiers do la Peinture n. 363

La portée et l'inspiration poétiques des œuvres de Oksana Veber se déterminent ainsi sous et vers des références musicales. Patite Citronnado, pièce décrite ci-dessus, pourrait être une allusion à la symphonie de Tchaikovsky, Petite-russienne, dédiée aux territoires ukrainiens.
Le tableau intitulé Ondine fait peut-être référence à l'opéra du même nom, du compositeur cité, qui par ailleurs a écrit quelques Ouvertures, titre qui se retrouve dans le répertoire des tableaux de cette exposition... Il y a un tableau Inspiré par le Jazz et ainsi nommé, la femme y joue de la trompelte..
Les couleurs des tableaux sont chaudes, dominées par des rouges et des ocres denses, convenant a l'évocation d'une musique romantique.
Formée en URSS (à Briansk, puis à Kiev) et en Tchécoslovaquie communiste (â Prague), Oksana Veber appartient à la plus jeune génération des plasticiens des pays de l'Est où il y a, comme on sait, des transformations économiques et culturelles, entre autres. Il est intéressant aujourd'hui de connaîlre les directions prises par la jeunesse de ces pays depuis le recul des options réalistes socialistes pour les beaux-arts. A ce titre, déjà, l'exposition récente (1) des peintures de Oksana Veber appelle l'attention. On sait, par ailleurs, que les arts plastiques de la Tchécoslovaquie, où Oksana Veber est établie (sa production est représentée en galerie, à Prague, de façon permanente) font l'objet en France d'un intérêt soutenu depuis qu'on a fêté en 2002 une saison tchèque qui a tenu l'affiche de mai à décembre, avec notamment les expositions Praga Magica à Dijon et Lanterna Magika à Paris.
Le travail d'Oksana Veber, quoique sa formation se soit accomplie à la fois à Kiev et à Prague, me semble plus inscrit dans une continuité artistique tchèque que russe, car il contient des analogies avec l'art autrichien de la Sécession de Vienne qui a attiré en son temps les artistes tchèques ; les Russes ne l'ont pas introduit dans les conceptions esthétiques de la peinture proprement dite, car elle était dominée chez eux par les vecteurs idéologiques du futurisme et du réalisme socialiste, et car leur habitude dans l'intérêt pour l'art étranger est de porter leur regard surtout vers la peinture française.

a Peintura n. 363

L'analogie des représentations d'Oksana Veber avec le Jugendstyl des Viennois (dit Art Nouveau en France el en Belgique, et Modem Style en Grande Bretagne), qui fut un mouvement étendu sur une grande partie de l'Europe, faisant valoir la compatibilité du beau et de l'utile, se déduit de l'exaltation de la courbe et la spirale, traits caractéristiques de son dessin. Elle se déduit aussi de l'émergence de ses tableaux d'un sens esthétique évoquant les arts extrême-orientaux, caractère connu de l'Art Nouveau
Tous les traits posés par Oksana Veber sur le support pictural, pour représenter les personnages ou les objets sont des volutes ou tendent vers cet aspect qui retrouve la forme légère du signe chinois ou japonais.
Le choix d'un support de gabarit diffèrent de celui des formats standard de la
peinture occidentale, un gabarit de parchemin, rectangulaire, de petite largeur et de présentation verticale, compte aussi comme une analogie avec l'Art Nouveau : songer à Judith, de Gustav Klimt, qui a tenu l'affiche a Paris à l'occasion de l'exposition < Vienne 1900 » au Centre Georges Pompidou..
Il faut aussi se rappeler l'exemple du Tchèque Mucha, qui fut l'un des meilleurs représentants de l'Art nouveau, pour admettre que la manière esthétique d'Oksana Veber, telle que décrite, s'inscrit dans une continuité artistique tchèque.
L'évocation de la musique, commentée ci-dessus, s'appréhende comme une toile de fond ; elle donne aux tableaux un heureux complément au caractère Art Nouveau dont la reprise comme style de peinture contemporaine est rare en Europe occidentale, suite peut-être â la polarisation du mouvement des idées dans un dialogue avec l'art des U.S. A.
L'ensemble exposé est de 2003. Quelques œuvres datent des tout derniers mois ; on y constate une évolution vers la réduction de la représentation figurée au profit d'une plastique gestuelle et un rapprochement de l'abstraction.
L'exposition a obtenu du succès et Oksana Veber compte désormais un certain nombre d'amateurs parisiens de son art. Sa maîtrise de son métier, la force délicate de sa sensibilité chromatique et la teneur poétique de tout ce qu'elle peint sont propices â son épanouissement et sa réussite à Paris comme les célèbres peintres tchèques qui ont brillé au sein de l'école de Paris, François Kupka et Georges Kars.

Mondher BEN MILAD

(1) L'exposition s'est déroulée à la Galerie Etienne de Causans, 25, rue de Seine, 75006 Paris, du 28 novembre au 5 décembre 2003.


Rozanoff Art, Gallery, San Francisco, Exhibition May 1- 30, 2008 "Conversing in Color"


Rozanoff Art
355 29th Street
San Francisco CA 94131

Gallery Events:
Exhibition
May 1- 30, 2008
Conversing in Color

Reception May 3, 2-6PM

Rozanoff Art Gallery and Canvasations Gallery host an exhibition featuring ten of today’s rising stars in contemporary fine art. All of Eastern European origins, these artists possess rare technical mastery, which each has pursued in an entirely unique direction to produce art that is statement, expression, and storytelling even as it is aesthetics at its best.

Participating artists:
Sergei Adeev: In Adeev’s "NAÏVE" works, the real world meets with fairy tale, and the lively and sometimes amusing characters are caught up in situations that are at once surreal and ordinary. The complex and colorful menageries create an optimistic, humorous, and sometimes satirical mood.

Arseneiy Alihanov: Alihanov's works employ a vibrant palette and are uniquely textural. Influenced by El Greko and Matisse, Vrubel and Miro, Kandinsky and the Eastern School of miniatures, Alihanov makes color come alive in dramatic abstracts and subtle landscapes.

Nikolai Bogomolov: Bogomolov has participated in numerous groundbreaking projects from St. Petersburg to San Francisco, including the "All for One Earth" exhibition. He works in a broad variety of mediums, including oil on canvas, acrylic on hand-made paper, and digital art and computer graphics.

Natasha Dikareva: Dikareva’s sculptures are striking and dramatic, yet earthy and fluid. They take us beyond the noise and rush of modern life, and connect to the simplicity and elegance in nature. Stains, matte glazes, and texture create the aura of ancient artifacts in her sculptures - seemingly, products of the spontaneous genesis of natural forces — Fire, Wind and Water.

Sabir and Svetlana Gadzhiev: This artistic duo met at the world-renowned Repin Academy of Art in St. Petersburg, Russia. Every work is a collaborative effort by the artists. The Gadzhievs’ paintings of fantasy and whimsy incorporate a variety of techniques and multidimensional forms, and evoke the sense of a distant, magical, and ambiguous universe.

Igor Lazarev: Lazarev applies his exquisite brushwork, reminiscent of the Dutch masters, to a surrealistic vision of a metaphysical world inhabited by mystical creatures. The artist's opulent works hint at other worlds, expressed in a uniquely detailed style and a luminously velvet texture that is completely his own.

Sergei Plotnikov: In Plotnikov's paintings, imagination and hyper-realism merge. His works often juxtapose unexpected themes and objects. They are built in planes, on the principles of theatrical sets. Then the characters appear—floating in these environments like highly expressive apparitions.

Simon Shegelman: Shegelman's art carries a luminescence that is simultaneously romantic and philosophical. Remaining faithful to the ancient axiom that painting is silent poetry and poetry is the painting that speaks, Shegelman arranges colors in what is truly a poetic reflection on the world around him.

Oksana Veber: Veber's paintings reflect a fascination with Taoism and other Eastern philosophies. The current series of works convey the themes of peace, harmony, and emptiness through the portrayal of women. These images carry a warmth and optimism, incorporating subtle colors and sharp accents that create a highly sensual aura.

Lilly Willis: Willis’ unique technique, called “liquid glass,” gives her paintings the look of polished semi-precious stone, glimmering beneath the still waters of a quiet pond. Her figurative works surprise with soft, sensual forms emerging from the cold, hard stone. Her abstracts integrate wild, natural elements and complex geometric order.


ARTIST PROFILE OKSANA VEBER


ARTIST PROFILE
OKSANA VEBER
Oksana Veber was born in Barnaul in the Altaj region of Russia. She has lived in the United Kingdom since 2010 having also spent several years living in the Czech Republic.
Oksana studied art at the Briansk Art College in Russia and the Kiev Academy of Fine Arts in the Ukraine. She also gained a BA in Practical Psychology from the Inter-Regional Academy of Personnel Management in Kiev. Oksana is a Member of the International Association of Commercial Artists.
Oksana has been drawing since the age of four and exhibiting since 1987. Her paintings are in galleries and private collections in several European countries and also the USA, Australia, South Africa and Israel.
Oksana’s painting style has undergone a transformation over the years. Her first paintings were landscapes which reflected her fascination with Daoism and other Eastern philosophies and incorporated themes such as peace and harmony. Some of her more recent works contain the same themes but through the portrayal of women in a warm and positive style. Oksana’s subtle use of colours ranging from warm wood to gold and glimmering coppers gives these pictures a unique and sensual aura. For the past seven years Oksana has participated in art workshops in Croatia and Bulgaria which has enabled her to pursue her love of nature and how to work in harmony with the natural world. Oksana’s style continues to develop with her paintings becoming more abstract over time. Her use of colour, line and form demonstrates the communication and connection which exists between the figures and backgrounds in her pictures whilst at the same time conveying movement that brings each work to life.
Oksana’s Statement:-
“I continue to be inspired by the beauty and harmony which exists in nature and my paintings are an attempt to recreate and capture this. My earliest memories from childhood are of me sitting in a tree, overlooking a ravine, watching the first rays of the morning sun as they mix with ribbons of mist rising from the fields of tall grass before slowly fading away together.
Irrespective of whether I am painting a woman’s body, a still life or a landscape I try to use lines and colours to record this feeling of harmony on a canvas. Pictures often come to me in my dreams at night – with the combination of colours and the composition so very real. When I wake I quickly sketch the images I have seen in my dreams before they disappear in the daylight.”
Oksana currently works from her studio in South London and her website can be viewed at


Shadow dance, Solo exhibition, Zadar, Croatia 11.2009


The dance of shadows.

There are different sources on which we feed in our quest for peace, equivalence and harmony. Artist Oksana Veber founds harmony in the beauty of the landscape, still life, woman's face, which, transferred into the harmony of colors and forms continue they life in art work. Guiding her through the need for equivalence and exploring themes like peace, harmony and emptiness, the artist – influenced by the ideas of Taoism and Eastern philosophy - transferred her longing and revelation on the canvas. From her first works to the present days she developed her work relayed on that same philosophical thought, developing her work by changing it through different styles and exploring the medium of painting and yet modulating it according to her spirit and inspiration she founds inside herself. Female portrait is main motive in most of the paintings. It is usually shown as sensual figure, with full lips, almond eyes, and slightly tipped head, that leads us in world of dreams and fairytales. Two paths lead us when we follow this mystic. One has roots are in Jugendstil (Art Noveau) and further in art of Japan that was inspiration to Jugendstil, and in Russian fairytales that we can find in work of Chagall, and the other in tendency toward harmony in choosing colors that evoke Kandinsky and Marc. Artist settles her characters on the background defined with colorist effects, that are, unlike in her early works when they were much expressive and with vivid tones, tranquil and given in pastel tones of blue-gray combination and beige in gradations. Colors, painted in wide brush-strokes combine anintrusivly and melt one in another, making abstraction that in some works could be defined piece in manner of abstract expressionism. On that background painter successfully adds figuration with tiny, playful black lines that give sparkle to meditative tranquility of background and open space to a new story. Much more than in early works now appear double portraits or even more characters on one painting. To former motifs of landscapes and dreamy female figures author adds new inspiration – motif of birds, fishes, music instruments and pottery that she brings in correlation with main subject. She paints them like the main motif with the same, almost calligraphic, brush-strokes and intensifies some silhouettes fulfilling them with color. In adding those motives, although they bring their own poetry, we can feel transfer to greater opening to the world. Now characters are not so alone, closed up in their dreams and wrapped in shroud of mystic, on contrary, they have opened path forward observer through subtle communication with objects it is surrounded with.
Koraljka Alavanja November 2009
„Shadow dance“, Antic Glass museum Zadar, Zadar, Wednesday, 25. November 2009


Painting in my studio, 25.07.07


В живописи и жизни я ищу выражение красоты. Когда видишь то, что вызывает ощущение красоты и гармонии это притягивает и завораживает. Я с детства по сегоднешний день люблю наблюдать движение в природе, могу часами сидеть на дереве у оврага, встречая первые лучи солнца и провожая клочья тумана медленно уползающие по траве.
Гармония линий тела женщины, гармония в пейзаже, натюрморте. Цвет и линия, это волебство дающее вдожновение. Передать свое чувствование гармонии на холсте это моя задача.
Картины часто приходят ко мне во сне, сочетание цветов, композиция все так реально, надо только успеть сделать наброски, пока видение (образ) не раствориться в повседненом.
Когда я пишу жиопись, приходит особое состояние полета, эйфории. Процесс живописи сладок как искушение, но случается что когда в изнеможении закончишь работу, наступает как прозрение после влюбленности и холст больше не радует, если не достигнуто то, что шептала фантазия.


USA, San Francisco, the article in magazan Terra Nova, 2008.


Here is the link for last number of magazan Terra Nova with the artcle about Veber Oksana.
They also placed a painting on the back cover.
Take a look...
Zagon/PDF-Temp/N25-July-2007/


Exhibition in Croatia, Kukljica 18.09.07.



Painting of a portrait of Ante Jasa in Croatia 2008


Painting of a portrait of Ante Jasa in Croatia 2008.


Oksana Veber


Oksana Veber

Born in Altaj region of Russia.
Education: Academy of Fine Arts Kyiv Ukraine, Art College Briansk Russia.
Commercial art experience: Union of Commercial and Industrial Artists - monumental art, stained-glass, and oil painting. Graphic art, including corporate logo designs.

Personal Exhibitions
2019- “Magic Glass“, Museum of Ancient Glass, Zadar, Croatia.
2018- Canvasation, San Francisco, USA.
2018- "Third Dimension Gallery, Kamuela Hawaii Island, USA.
2018- “Vanilla Sky”, Gallery Dom na Zalu, Pucko Otvoreno Uciliste, Preko, Croatia.
2017- “Reflections”, Gallery Dom na Zalu, Pucko Otvoreno Uciliste, Preko, Croatia.
2017- “FRAGMENTS” VIEW gallery, London, United Kingdom.
2016- “Art show” Collection, Zelena Punta, Kukljica, Croatia.
2014- “Paintings Collection“, Zelena Punta, Kukljica, Croatia.
2012- “Sea Songs“, Prachen Museum, Pisek, Czech Republic.
2012- "MK Arts for Health" Personal Exhibition, MK Hospital Foyer, Milton Keynes, United Kingdom.
2011- Sea dream, Gallery Dom na Zalu, Pucko Otvoreno Uciliste, Preko, Croatia.
2009- Shadow dance, Museum of Ancient Glass, Zadar, Croatia.
2009- Portus Gallery, Pisek, Czech Republic.
2007-2009 - Acorn Galleries Billingshurst West Sussex, Room № 9 Gallery Eastbourne, East Sussex, England.
2007- Voshan Gallery, Palo Alto, San Francisco, USA.
2004- '' ART Show''- Municipal Gallery Teplice, ''Modern Russian Art'' Fusion Center
Gallery TopLil Prague, CZ. ''Cotrexeville a l’’heure russe'' Russian Culture center Cotrexeville,
''ART Veber'' Gallery ART Shaker, Paris, France.
2003- ''Four Seasons'' Artmaster gallery, Prague Czech Republic, ''The Song of Sun'', Gallery Etienne de Causans, Paris France.
2002- ''Gleaming Summer'' American Embassy in Kyiv,
''A Different Way of Seeing'' ARTEast Gallery , Kiev, Ukraine.
2001- ''Vernissage'', Gallery of Russian Cultural Center, Copenhagen, ''Soul Mates'', Municipal Gallery, Espegarden, Denmark.
1999- ''Morning'', Art Cafe, Prague, ''Ingle-Side'', Tabor's Municipal Gallery, Czech Republic.
1997- ''Self-Portrait'', Municipal Gallery of Slavutich, Ukraine.

Group Exhibitions
2018- “Fantasy Portraits”, Third Dimension Gallery, Kamuela, Hawaii, USA.
2016- “ART Show 2016” RISE ART, London, United Kingdom.
2015- “Waterloo Zeitgeist 2015” Waterloo Action Centre, London, United Kingdom.
2014- Group Exhibition, W3 Gallery, London, United Kingdom.
2013- "Into summer” Group Exhibition, CO Gallery, Iklin, Malta.
2013- "The Gender Agenda” Group Exhibition, W3 Gallery, London, United Kingdom.
2012- Edinburgh Art Fair 2012, Edinburgh, United Kingdom.
2012- Affordable Art Fair Roma 2012, Roma, Italy.
2012- "Drawing project” Group Exhibition, Crocus Gallery, Nottingham, United Kingdom.
2012- "Papergirl” Group Exhibition, Marburae Gallery, Macclesfield, Cheshire, United Kingdom.
2012- "Abstracted” Group Exhibition, Marburae Gallery, Macclesfield, Cheshire, United Kingdom.
2012- "Rising Stars” Group Exhibition, New Ashgate Gallery, Farnham, United Kingdom.
2012- "An Ideal Soup” Group Exhibition, Brent Artist Resource Gallery, London, United Kingdom.
2012- "Willesden show” Group Exhibition, Harlesden Gallery, London, United Kingdom.
2012- "Mull it over” Group Exhibition, Gallery Brighton, United Kingdom.
2011- "Women in Art” Group Exhibition, SO Galerie, Iklin, Malta.
2009- "The Sound of Art", Falconer Center, Copenhagen, Denmark,
2009- "Calling all artists 2009", Carshalton Honeywood Museum, London, England.
2008- "Conversing in color", Rozanoff Art gallery, San Francisco, USA.
2007- ''ART Exhibition”, Multimedia Culture Centre, Kukljica, Croatia
2007- ''Summer 2007'', International Art workshop, Balcik, Bulgaria,
2007- ''Art Winter 2007'', Edinburgh, United Kingdom.
2007- ''ART Show''- Berlin, Germany.
2006-2007- ''Jadertina''- International Art workshop, Kukljica, Croatia.
2005-2007- ''Art Ireland Spring Collection'', ‘‘Art Ireland Winter'', ''Art Ireland Summer Collection''
- Dublin, Ireland.
2005- ‘‘Dreams about Don Quixote'' Prague, Czech Republic and Barcelona, Spain.
2005- ''ART Show''- Hilton foyer, Malta.
2004 - ''Contemporary Art'' - Municipal Gallery, Los Angeles, USA.
2004- ''Les peintres de Russie'' - Le Consulat General de Russie de Strasbourg, France.
1997-1998- ''Ukrainian Women as Great Artists'', Laura Gallery, Kiev, Ukraine.
1987-1992- 1996- 1997- ''Picturesque Ukraine'' - Autumn Art Exhibition, Artist Hays, Kyiv, Ukraine.

Galleries:
Czech Republic, Prague: ''Michalska 11'', ''Artmaster'', ''Godot'', ''ArtKarlstejn''.
France, Paris: ''ART Shaker''',
England: “View Gallery'', ''Room № 9, ''Harlesden Gallery'', ''The Marylebone Gallery'', ''W3 Gallery''.
USA, Hawaii, Kamuela "Third Dimension Gallery"
USA, California, San Francisco "Canvasations Gallery".
tel: +447930445801, e-mail: o_veber@yahoo.com, www.veberoksana.com


Inside look into my art methods, techniques.


Dear visitors,

I have something to tell you today. It will be an inside look in the art methods, techniques, that I use.

When Elena, the VIEW gallery manager, asked me to write about my art techniques, I started to panic. 

As much I as I love painting, usually I did not enjoy writing about it. She said that the gallery visitors would love to learn more about the technique the artist uses.

However I will give my best attempt to describe the processes going. Let see how it will go.

I used to paint in the all the possible art and non art materials and also did the huge stain glass projects earlier in Soviet Era in Ukraine.

My first exhibition abroad in Denmark Copenhagen was all in watercolour on paper technique.

Then while living in Prague Czech Republic I completely focused on oil based painting materials.

I used the traditional technique, based on the realism oil painting style, which we have been taught. It was the oil on canvas or card paintings. 

Then I started to develop my own technique which is the combination of the pointed etching needles and oil colours on a special durable card. This give me the great texture of scratched drowning deeply or gently  filled with an oil paint which is contrasting to the oil glossy and smooth card structure. 

I prefer to use the Rembrandt and St Peterborough oils, which are highly transparent and can be layered after they get dry as many times as I need to create special multilayer finish.

The goal is to get the colour layers be translusant and shine through.

For the base before I get to the actual painting, I use a special acrylic ground and number of acrylic texture pastes which I could apply freely by pallet knifes in various ways.

I use a lot of the mix of linen oil with varnish and turpentine oil for dilute the oil paint. This mixture allows the paint not dry so quickly and give time to work with it to adjust when necessary . This give me desired semi covering each other layers of the thin oil paint. 

The painting process is never the same, there is always room for improvisation and experiment with non-traditional materials and instruments.

For example some times I use a sand paper or metal wire brushes to create special effects on the surface of a painting. I used various imprinting effects made by a pressure against the painting surface from shapes in wood or plastic, or in broken glass.

Hope this description can provide a a brief look in to the kitchen of artistic processes.

Please feel free to ask any questions. 

I would gladly answer on all of them.

Kind regards

Oksana Veber


Les Cahiers de la Peinture n. 363, Paris, France


Les Cahiers de la Peinture n. 363
Visite d'exposition
Oksana VEBER

Un bel ensemble de peintures figuratives d'Oksana Veber (nйe en URSS en 1967 et йtablie а Prague) a йtй prйsentй rйœmment а la galerie Etienne de Causans (1) par M. Claude Zlotzisty, admirateur de l'œuvre de cette jeune femme peintre.
Dans ce travail, l'image de la femme est dominante, de sorte qu'on peut considйrer qu'elle est le thиme de l'exposition : une femme belle et svelte, aux traits fins, le cou long, le visage ovale, les yeux en amande, les lиvres charnues, les seins fermes. D'autres attraits sensuels sont suggйrйs pudiquement, tandis que des attitudes, des gestes de la main et l'expression des yeux expriment fortement la volontй de sйduire, mais il y a de la pudeur aussi dans cette expression. Dans la majeure partie des tableaux, la femme est au singulier. Quelques œuvres, trois, me semble-t-il, rйunissent deux femmes : Le Duo (des violonistes) ; Ouverture (deux tкtes de femmes et un cygne ; Vieux Miroir, seule composition figurant une tкte d'homme et une de femme). L'image du cygne se rencontre plus d'une fois dans les compositions, prйcisйe ou esquissйe, et cela porte а penser qu'elle vйhicule peut-кtre une allusion qui ne devrait pas кtre nйgligйe. En effet, elle compte comme un йlйment pertinent dans un ensemble de constatations qui appelle l'attention vers la musique. En mкme temps que l'on constate des occurrences du cygne, on remarque des titres qui renvoient a la musique: Duo, Chante violon, Ond'tne, Ouverture... S'y ajoutent des images du violon et d'une boite а musique (dans une œuvre intitulйe Une petite Citronnade, oщ la femme, les yeux bridйs cette fois, et la peau jaune, tourne la manivelle de la boite sur laquelle on voit une danseuse en tutu et un danseur, et en-dessous trois paires de dыmes du Kremlin). Le cygne associй а la musique йvoque spontanйment le quatuor а cordes de Tchaпkovsky, Le Lac des cygnes. Un gros coquillage marin est йgalement une figure frйquente dans les accessoires de composition, et l'on connaоt sa connotation auditive.


Los Cahiers do la Peinture n. 363

La portйe et l'inspiration poйtiques des œuvres de Oksana Veber se dйterminent ainsi sous et vers des rйfйrences musicales. Patite Citronnado, piиce dйcrite ci-dessus, pourrait кtre une allusion а la symphonie de Tchaikovsky, Petite-russienne, dйdiйe aux territoires ukrainiens.
Le tableau intitulй Ondine fait peut-кtre rйfйrence а l'opйra du mкme nom, du compositeur citй, qui par ailleurs a йcrit quelques Ouvertures, titre qui se retrouve dans le rйpertoire des tableaux de cette exposition... Il y a un tableau Inspirй par le Jazz et ainsi nommй, la femme y joue de la trompelte..
Les couleurs des tableaux sont chaudes, dominйes par des rouges et des ocres denses, convenant a l'йvocation d'une musique romantique.
Formйe en URSS (а Briansk, puis а Kiev) et en Tchйcoslovaquie communiste (в Prague), Oksana Veber appartient а la plus jeune gйnйration des plasticiens des pays de l'Est oщ il y a, comme on sait, des transformations йconomiques et culturelles, entre autres. Il est intйressant aujourd'hui de connaоlre les directions prises par la jeunesse de ces pays depuis le recul des options rйalistes socialistes pour les beaux-arts. A ce titre, dйjа, l'exposition rйcente (1) des peintures de Oksana Veber appelle l'attention. On sait, par ailleurs, que les arts plastiques de la Tchйcoslovaquie, oщ Oksana Veber est йtablie (sa production est reprйsentйe en galerie, а Prague, de faзon permanente) font l'objet en France d'un intйrкt soutenu depuis qu'on a fкtй en 2002 une saison tchиque qui a tenu l'affiche de mai а dйcembre, avec notamment les expositions Praga Magica а Dijon et Lanterna Magika а Paris.
Le travail d'Oksana Veber, quoique sa formation se soit accomplie а la fois а Kiev et а Prague, me semble plus inscrit dans une continuitй artistique tchиque que russe, car il contient des analogies avec l'art autrichien de la Sйcession de Vienne qui a attirй en son temps les artistes tchиques ; les Russes ne l'ont pas introduit dans les conceptions esthйtiques de la peinture proprement dite, car elle йtait dominйe chez eux par les vecteurs idйologiques du futurisme et du rйalisme socialiste, et car leur habitude dans l'intйrкt pour l'art йtranger est de porter leur regard surtout vers la peinture franзaise.

a Peintura n. 363

L'analogie des reprйsentations d'Oksana Veber avec le Jugendstyl des Viennois (dit Art Nouveau en France el en Belgique, et Modem Style en Grande Bretagne), qui fut un mouvement йtendu sur une grande partie de l'Europe, faisant valoir la compatibilitй du beau et de l'utile, se dйduit de l'exaltation de la courbe et la spirale, traits caractйristiques de son dessin. Elle se dйduit aussi de l'йmergence de ses tableaux d'un sens esthйtique йvoquant les arts extrкme-orientaux, caractиre connu de l'Art Nouveau
Tous les traits posйs par Oksana Veber sur le support pictural, pour reprйsenter les personnages ou les objets sont des volutes ou tendent vers cet aspect qui retrouve la forme lйgиre du signe chinois ou japonais.
Le choix d'un support de gabarit diffиrent de celui des formats standard de la
peinture occidentale, un gabarit de parchemin, rectangulaire, de petite largeur et de prйsentation verticale, compte aussi comme une analogie avec l'Art Nouveau : songer а Judith, de Gustav Klimt, qui a tenu l'affiche a Paris а l'occasion de l'exposition < Vienne 1900 » au Centre Georges Pompidou..
Il faut aussi se rappeler l'exemple du Tchиque Mucha, qui fut l'un des meilleurs reprйsentants de l'Art nouveau, pour admettre que la maniиre esthйtique d'Oksana Veber, telle que dйcrite, s'inscrit dans une continuitй artistique tchиque.
L'йvocation de la musique, commentйe ci-dessus, s'apprйhende comme une toile de fond ; elle donne aux tableaux un heureux complйment au caractиre Art Nouveau dont la reprise comme style de peinture contemporaine est rare en Europe occidentale, suite peut-кtre в la polarisation du mouvement des idйes dans un dialogue avec l'art des U.S. A.
L'ensemble exposй est de 2003. Quelques œuvres datent des tout derniers mois ; on y constate une йvolution vers la rйduction de la reprйsentation figurйe au profit d'une plastique gestuelle et un rapprochement de l'abstraction.
L'exposition a obtenu du succиs et Oksana Veber compte dйsormais un certain nombre d'amateurs parisiens de son art. Sa maоtrise de son mйtier, la force dйlicate de sa sensibilitй chromatique et la teneur poйtique de tout ce qu'elle peint sont propices в son йpanouissement et sa rйussite а Paris comme les cйlиbres peintres tchиques qui ont brillй au sein de l'йcole de Paris, Franзois Kupka et Georges Kars.

Mondher BEN MILAD

(1) L'exposition s'est dйroulйe а la Galerie Etienne de Causans, 25, rue de Seine, 75006 Paris, du 28 novembre au 5 dйcembre 2003.


The Color and Line. 2008


The Color and Line.

In my painting I am inspired by the sensation of the beauty and harmony and always seek the expression which recreates these attributes.

From childhood till today I loved to observe motion in nature, could hour by hour to sit on tree beside ravine, meeting first rays sun and accompanying ribbons of the mist slowly crawling away from the high grasses of the fields.

Lines and colors form the harmony of the women’s body, the landscape, and the still life. The Color and Line, this magic gives me inspiration and the ability to place this feeling of harmony on the canvas.

Pictures often come to me in night dreams, combination of color and the composition all is so real, it is necessary only to have time to sketch it before image disappears in the daylight.


The Color and Line.


The Color and Line.

In my painting I look for the expression of beauty.
When see that causes the sensation of the beauty and harmonies this attracts and inspires.
Since childhood I love to observe motion in nature. Hour upon hour I can sit by a tree, beside a ravine, meeting the first rays of sun and accompanying ribbons of the mist slowly crawling away on a grass.

Harmony of the woman’s body line, harmony in landscape, still life. The Color and Line, this magic gives me inspiration.
Transport this feeling of harmony on the canvas – is my goal. The Pictures often come to me in night dreams, combination of color, composition is all so real, it is necessary only to have time to sketch it before image disappear in the day’s reality.


Vernissage, Gallery of Russian Cultural Center, Copenhagen, Denmark, 2001.


2001- ''Vernissage», Gallery of Russian Cultural Center, Copenhagen, Denmark.

Ukrainian family-collection around a piano, with art on the wall and a sculpture on the lid: Roman Koukahar, Oksana Veber and Elena Koukahar.

ESPERGÆRDE:
First time in West Europe at Espergade Library, might well be the first step on the way to a West European break through for the ukrainian couple Oksana Veber and Roman Koukhar.
The pieces of art which can be seen at their exhibition until the 7th of January are at least very beautiful.
It has nothing to do with provocations. The experiences are in own poetic balance for quiet considerations.
The works of Oksana are beautiful pictures, and Romans sculptures are very harmonic. For both of them, each piece of art, seems to tell its own wonderful story. They are like visual fairytales.

The sister-connection
So why did Espergade become the first place for the couple to exhibit in Western Europe?
Well, Roman has a sister. An extraordinary pianist Elena Koukhar.
Together with he husband Mehdi Azadfar, who has lived for five years in Kokkedal, and they have their connections to artists in Helsingør and Espergærde
Roman and Oksanas art exhibition and now lead to an exchange, where some of the local artists might make exhibitions in Kiev next time.
Hanging in well recognized museums.
Both of them come from the Ukrainian capital. There they grew up and got their education, and
Roman and Oksana are members of the Art Society in Kiev.
Both are represented in several well recongniced art museums in their home country and in Russia, and they also both have artworks in galleries in Czech Republic and in Germany.
But now is the first time they are taking part personally at an exhibition in the Western part of the world.
They have been represented at an art exhibition in Canada, but they could simply not afford to travel there. But in Espergarde they are here.
On Saturday the opening of the exhibition took place and it was carried through in a wonderful atmosphere with a small concert by Elena Koykhar.
Maske vil der ligfrem vaere en julegave-ide at finde i bibliotec. Under alle omstaendigheder er der finoplvelse at hente.
Oksana and Roman bliver to manader i Danmark.
Den 20. januar fortsaeter udstillingen i Det russiske Kulturcenter i Kobenhavn.
Tom Danielsen
Photo: Jorgen J.K.


Exhibition in England, Billingshurst, Acorn galleries 07.06.07