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The Synthesis Art Style of Nina Valetova
At the beginning of her creative career, Nina Valetova set herself the goal of developing her own unique, original art style, since this is what distinguished every true artist. She spent much time and effort finding what would be the most accurate expression of her creative nature.
As she searched for her own style, she created in different styles that were inherent to her philosophy and, in the process, she achieved mastery in them all. Nina is an American Art Award winner in the category "Cubism" for 2018. She also won the the Premio ALBA 2009 certificate and medal by CASA Editrice Alba (Ferrara, Italy) in 2009.
Nina began mixing the styles she mastered into various combinations to express her unique approach to art. Generally, her artwork is not categorized into one specific style. Instead, she uses a combination of styles to create a piece.
In search of a new way to create art, Nina Valetova founded the Synthesis art style in contemporary visual art - an integration of figuration, abstraction, and surrealism. Nina Valetova is an established artist in the wave of bold, experimental art today.
Nina is an established artist in the current wave of bold, experimental art.
Maria Galperina, 2021
Fantasy and Visionary Art of Nina Tokhtaman Valetova
The world has seen the works of several talented artists; these artists have always thought out of the box and their works spoke volumes about their creativity and talent. This review will shed light upon the works of Nina Tokthaman Valetova.
Nina Valetova’s use of oils is without a doubt exemplary; the representation becomes all the more special with the creativity of the artist. Figurative and abstract imagery has been very well portrayed by the artist, and the experimentation with different colours has also come off well in all the works. The hallucinatory effect which is conspicuous in several paintings is the result of the perfect blend of oil colours, very few artists in the whole world can create such a fine impact.
The theme of fantasy and visionary art has been very well presented in the works, this only goes to show how talented and creative the artist really is. Nina deserves to be extolled for her exceptional creativity. The works also reveal several tales, but the viewers must put their heads to good use because she does not present the whole tale, most works need to be deciphered, for which a certain level of sophistication is necessary. Her works are very enigmatic, at times the viewers feel that the works are frozen in time, the next second they feel that the same works are brimming with life, it becomes very incomprehensible for the viewers to understand the enigma surrounding the paintings. This again goes to show the ability of the artist to keep the viewers on tenterhooks.
Each canvas is unique and presents new stories revealed by the artist, such uniqueness is hard to find elsewhere. The artist has put in a conscious effort to actively experiment with dimension and composition which has given an edge to her works over others, the paradoxical nature of the works has made them much more intriguing than it originally would have been. A viewer who is short of philosophical depth would not be able to comprehend the theme of the different canvases. The artist has dug deep to find irrationality of the modern society and several paintings portray the same. The unpredictability of the modern day has also been presented in several paintings.
To conclude, it is very fair to say that Nina is certainly unique from other artists. She dares to experiment and think out of the box, her experimentation with different oil colours has always paid off, her experimentation with structure and dimension has also been very successful.
Lastly, one needs to have philosophical depth to be able to comprehend her works, her works appear to be frozen in time yet appear more lively, the ability to do this is unique and deserves plaudits. Her interpretation of the contemporary society is spot-on; her works reveal her interpretation of the modern and irrational society of ours.
Amasin Art Gallery, 2011
Nina Tokhtaman Valetova
Americana dal 1993, � Nina Tokhtaman Valetova è un’artista di origini russe che ho trovato molto interessante. I suoi lavori provengono da un’espressività che ha subìto il fascino dell’informale sovietico sommato a quello dell’arte classica europea e statunitense. Il risultato, filtrato da una sensibilità pittorica molto profonda, emerge in un carattere stilistico particolarmente forte dal quale spicca una straordinaria capacità evocativa.
Nina Tokhtaman Valetova è riuscita a dimostrare nell’arco della sua carriera una grande capacità tecnica nell’utilizzo di vari materiali con i quali lavora costantemente sperimentando e ricercando ulteriori sviluppi espressivi. Nina è un’artista internazionale molto importante in virtù del particolare stile che ha saputo imprimere nel panorama artistico contemporaneo. Nelle sue opere è evidente la presenza di una rivisitazione surrealista molto personale, arricchita di elementi simbolici che sottolineano una ricerca intima e intellettuale particolarmente colta.
La scelta cromatica di ogni opera, mostra una volontà espressiva improntata su forti contrasti, perfettamente in linea con il dialogo tra reale e sogno, tra quiete e inquietudine. Qualcuno lo chiama Realismo Surreale in virtù della sua lirica stilistica, penso però che l’espressione di Nina non sia ascrivibile facilmente ad una corrente contemporanea perchè limiterebbe una libertà espressiva che invece è alla base di tutta la produzione dell’artista.
Nina Valetova oggi è rappresentata negli Stati Uniti da Galleristi lungimiranti come la Art Brokerage di Henderson e la RoGallery di New York. Inoltre Nina Valetova dirige la l’ottima Amasi Art Gallery di Brooklyn a New York.
Nella Galleria son presenti anche gli artisti Michail Molohnikov, Aleksandr Grechanik, Armen Daneghyan e Joseph Arbisman. Sicuramente torneremo presto a parlare di Nina Valetova.
a cura di Alberto Moioli, 23 ottobre 2017
World From the Other Side
In the art of Nina Valetova one can see original adoptions as well as timely overcoming of postmodernist artistic language. She uses the concept of "double coding", having in mind the situations when the same piece of art carries in itself entertaining and fascinating information that is available for wide audience, and also contains a completely different message that is intended for elite intellectuals, for advanced and dedicated addressees. Here an analogy with ancient distinctions between esoteric and exoteric levels of understanding of texts and symbols can be seen, but then interpretation of the artistic figures would have their vertical spiritual dimension. Tendency toward true, instead of stylized, multilevelness is now more and more noticeable.
The artist's painting appears as an open structure. The space itself is often multicentred even in the bounds of one composition. Frequently inside of the composition, linear, reverse, and some unheard-of combinatorial perspectives are combined. Unlimited diversity of color-light metamorphoses, original back and forth conversion of figural images and elements of abstraction, and so on, are observed. Significant, for example, is paradoxical interpretation of architectonic motives that is even separated to "irrational architecture". Here motives of iconic settlements, which are interpreted by no means canonically, and constructions of renaissance perspectivism, passed through the prism of European "metaphysical painting" of 20th century, are deconstructed and assembled into new, original, and strange integrity. Anyway, inside these small spaces of the painting, architecture is formed that is monumental in its own way, but is also certainly nonfunctional, absurd and irrational, that is what adds intrigue of riddle and fantastic expression to it. One could remember the architecture that is produced by madness in Borsches' "Immortal".
In general, everything stable in the painting comes into motion, hard-congealed becomes metamorphously reversible to crystallize and again congeal in some metaphysical motionless magical form. General space itself is sometimes on a plane, without depth or perspective, hermetically closing on itself, and sometimes is as it was falling into some kind of cosmical bottomlessness with its clots of black holes and low-density areas of probable outlets into certain "other dimensions", which are mystical instead of physical.
Unlike in radical "Vanguard" art, the plot is not ignored. The plot slips away, it is half ciphered, and therefore interesting with its multiple and ambiguous interpretations and ways of understanding. Concrete artistic solutions make a complicated alloy of forms that exclude indication of concrete sources. We will note that characters in the paintings are endowed with mysterious nontransparency of meaning, what makes them symbols, and this way they are joined to the Mystery. Being on the other side of all the evident historical canons and classical mythological characters, they are nonetheless appearing related to traditional mythology with its esoterism. All of this comes not only through cultural resources, which the artist has without doubt, but also through deliberately open channels of Subconsciousness and Unconsciousness. Archetypes, above character in their essence, require for their embodiment, on the opposite, clear individualization of themselves, as well as of their guide/artist, who is often, like a visionary, brings together his own artist's vision and Knowledge, or, in other words, sees the "World from the other side". This is not an accident that one of Nina Valetova's program cycles bears that name.
Sergey Kuskov, 2008
Nina Valetova’s elusive and highly innovative oils on canvas present revolutionary new ideas of postmodern representation. Blending together both figurative and abstract imagery, Valetova’s imaginatively colored works create an almost hallucinatory effect. Lines bend, shapes undulate and dual feelings of horror and elation combine and intermingle at every turn. Often drawing comparisons with Surrealism, Valetova’s works have a dreamlike quality wherein objects frequently morph into one another, landscape becoming figure, figures dissolving into total abstraction. Valetova invites viewers to join her narrative journey, but excitingly, only relates pieces of the tale. Viewers then become responsible for deciphering the remainder of her message, questioning and examining every line and brush stroke.
The intriguing dual nature of her works continues with the dichotomy of visual movement that pervades each canvas. The work seem at once frenetic and active, yet frozen and almost incomprehensibly calm. Valetova experiments with dimension and composition, leading to amazing results: paradoxical works of intended absurdity. In doing so, she produces works not only of stunning beauty and philosophical depth, but which comments on the unpredictability and irrationality of contemporary society. As unending wars are waged and beloved family members die, life continues on and as her paintings so poignantly articulate, when one thing stops another keeps going.
Born in South Ural, Russia, Valetova finds continual inspiration in her personal history and in the cultural heritage of her familial lineage. An avid student of Eastern philosophy, Valetova herself adopts a Zen-like view of the world which provides a fascinating counterpoint to the energetic canvases of her art. Yet the intense appearance of her paintings is no accident. Instead, Valetova consciously chooses arousing colors and imagery to inspire her viewers to effect change within the world. Knowing she cannot do it alone, she hopes those who appreciate her art will appropriate her message and spread it to the masses.
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