About

Lena Krasnoschokova is a big Russian artist. Her canvases are full of internal infernal life. So that she doesn`t know what she would do in the next second. Her works are immence, they touch secret and intimate sides of the life.

Elena Krasnoshchekova's creative palette is wide and diverse. The artist believes in the elusiveness of the beautiful, so the outlines of objects in her paintings are often shaky, they can be compared to a fata morgana or a mirage in reality. But even the elusiveness of the beautiful can and should be tried to express. This is the author's credo of the artist. It probably wouldn't be an exaggeration to call Elena Krasnoshchekova's painting Russian neo-impressionism. Although, of course, the personality of any artist is broader than the creative direction that he represents. Often the same creative direction unites people who are completely different in spirit and letter of creativity, as, for example, it was with the Impressionists, symbolists, Acmeists or futurists. But great artists are, as a rule, solitary, self-sufficient creatures, and often they don't even know that critics have already counted them and "united" them with someone. Elena Krasnoshchekova nurtures her creative method, her style independently, outside of apprenticeships and imitations. And her "hand" is quite recognizable - what could be more valuable for the work of a real artist? But the main thing in her works is the prisoner of the looking glass, the soul.

Despite the apparent simplicity, the world of Elena's painting is mysterious and romantic. And this is directly related to her writing style. Personally, I don't really like monochrome painting: the contrast palette is nicer to me. However, I understand perfectly well that this kind of painting is aerobatics for an artist. This can be compared to Paganini's caprice, performed by the author on one string. Elena, unlike the Italian virtuoso, has a string that she never plays - it's black. Kazimir Malevich's favorite color is completely absent in the works of Elena Krasnoshchekova. And this is not a pose or an artist's asceticism. "It's just that this color is missing in my soul," is how Elena herself explains this feature of her work.

Elena Krasnoshchekova believes that life is a swirling universe, and this vital vortex in her canvases is not chaotic, but clearly organized and resembles a living cycle of elements. And these vortices do not absorb the world into a black hole, but deeply sympathize with the artist's heart. It is they who create a unique, "dancing", as Nietzsche put it, rhythm of life, recreate the cosmos from chaos. It is they who give birth to the culminating moments of being - periods of inspiration illuminated by light, when we understand ourselves most deeply. At such moments, we are especially acutely aware of our inner world. Sometimes it seems to us to be an inhabited island, which suddenly found itself in the maelstrom of turbulent events. And sometimes we are able to connect two opposite banks of the river: we are a bridge, past which ships are tirelessly scurrying, maybe the flying Dutchmen of our desires.

In the painting "Autumn Elegy" Elena Krasnoshchekova creates the impression of total immersion in the mantra of autumn. Like the Arbat, which, according to the mystical expression of Okudzhava, "will never pass to the end," so the depth of Krasnoshchekova's autumn alley is boundless, endless and achingly inviting. But a bonfire of leafy fire does not burn the heroine. On the contrary, he exudes joy, the fullness of living life, an immense space in which a lost person, nevertheless, is not lost for inner peace, for harmony with the environment.

The artist's "Stranger", it would seem, refers us to Blok's poem of the same name. And, indeed, in the picture there is "an alloy of many worlds, mainly blue and purple," which the poet spoke about applying to the image he created. But from the Stranger Elena Krasnoshchekova there is no devilry or infernal otherworldliness. She rather resembles the famous Mona Lisa - her half-smile is also mysterious and meaningful.

Elena Krasnoshchekova aspires to become a real Master. I don't remember which of the artists came up with the idea of cutting off the colors from the thickening palette and gluing them to the picture to create a volumetric effect. Elena uses this technique very often, that's why her paintings look unusual, and transportation from exhibition to exhibition is fraught with their damage. But this technique is not only spectacular, but also very effective.