Upon initial observation, the artistic creations of Masha Trebukova (*1962) may seem purely obscure – vibrant forms of varying hues and contours on canvas. They fluidly merge with each other or clash in vigorous opposition, twirling and collapsing at their peak. It is as though cosmic powers are locked in a fierce struggle on the painted surface, yet a sense of familiar reality does emanate from this non-figurative battleground. The color blue – situated either at the summit or the base of the painting – can inexplicably transform into an inviting pool of water or boundless skies, while shimmering silver-pink openings take on the quality of atmospheric matter pierced by light. At times, these forms adopt a three-dimensional quality comparable to a solid mass (as opposed to their previous resemblance to landscapes), further emphasizing the illusion of depth. In the same vein, luminaries such as Willem de Kooning and Nicolas de Stael toiled at the threshold of abstraction and reality during the mid-1900s.
Trebukova charts her own path towards resolving the eternal quandary of painting – the interplay between surface and profundity. She introduces novel materials to the longstanding practice of oil painting. Pieces of dyed gauze, coarse jute, leather, or sheer interfacing fabric, when applied to the canvas, open up fresh avenues for tackling this ageless issue. The underlying layer of color seeps through the painted gauze, engendering a sense of depth, yet perpendicular brushstrokes, reminiscent of Cezanne’s technique, reintroduce distant images to the flatness of the foreground, causing the surface to rupture into boundless space, and abstraction to “become” reality.
The concept central to her printmaking practice is identical. First, she prepares cardboard sheets with a mixture of glue and sand, utilizing these structures to create monotypes. Sometimes, she cleverly assembles multiple pieces, culminating in polypthychs measure up to 2 by 3 meters. Be it on paper or canvas, Masha’s primary focus is to tackle artistic obstacles, including achieving a harmonious color palette, exploring the interplay between form and structure, and evoking tension and allure in the elements. Nevertheless, a sense of reality inevitably emerges, defying logical calculations and seeping out from the depths of the subconscious, stemming from the profound connection between the artist and her surroundings. This fusion of rationality and spontaneity is not easily attained, but rather a product of refined and skillful techniques.
www.ftn-books.com has several Trebukova items available.
