Sometimes tell the similar: «the Drawing is good, because is traditional». Relative density traditional, откристаллизовавшегося, constant is too great here in this art, in this genre, and to much starts to seem that the drawing is not subject, as painting, to resolute changes. But all the same movement, energy new in the schedule is. Movement original, нутряное, the deprived rough extreme displays and sharp stylistic differences, however thorough, stable and – evolutionary.
In Xenia Hodakovsky’s works it is felt, except a great skill, breadth, desire of a vast scale, a natural power. It, apparently, is capable to escape outside from a clean sheet plane, wishing full self-expression, its free will. But thus at each work there is its attentiveness of the master and surprising artistic patience, and this patience executed collected force …
The Hodakovsky aspires to inform, by all means, to our ability to be surprised the heat of direct spectator impression, however pathos of the thought over construction, the rational organisation of an image clearly and qualitatively is present at its works. Чувствуеться at it присутствувие, the general for all masters of its circle, the relation to the process of drawing as to solemn, cleared of vanity and accidents to the creative certificate which creates a uniform positive emotional current of such drawing is a passionate current of energy запечатления.
Each sheet of a series even if it is flowers on a table, has basic not genre character: plasticity serial processing gives to any episode extrahousehold time extent and, hence, sensation of relevancy and even symbolical character. In this strictly calculated system, there is no place and a casual detail; each element bears the structural function – marks a plane, measures artly significant spatial plans.
The same moment of the strict organisation, initially ideally built, and then acquired a flesh наблюденных details of composite skeleton, translates the image in other, not only terrestrial measurement. It is a question of the general, through, penetrating all drawing of this circle of a strong-willed tonality, simultaneously and emotional and plastically perceived.
The colour drawing Hodakovsky, apprehended substantially also the newest picturesque culture, develops principles wide цветотонального generalisations, originally and sharply resolves an invoice problem, put search thematic problems interesting in a creative way.
The artist had a new, is fantastic-folklore line. At the same time, the main channel of a drawing was defined not so much picturesquely – expressional, how many by actually voice-frequency problems with a support on exact drawing.
In still-lifes, with almost physical sharpness there is this sensation of “algebra” of the subject world which almost разъемлется on components and develops again the artist – but already more sharply in contrasts, динамичнее in collision of planes and volumes, is more active in spatial communications.
In compositions on the foreground one installation – first of all on spatial communications is put forward. Not on constructibility – these works still strong, are faultlessly composite, and resting on spatiality. Sometimes it is present physically, initially, at comparison of scales of subjects, weights, density, weight. Sometimes the artist would like to give to these communications visible convincing character and then there are the original power contours characterising muster of forms.
Xenia is able to transfer in the subject form not only judgement about the given subject reality, but judgement about whole – synthesising judgement about life. Such high understanding of art of a drawing is peculiar absolutely to the little, in effect, to masters, and is dictated not only professional ability, but also the certain vital position provided with “gold reserves” of vital reflexions.
The subject in these still-lifes – the original clot of a matter living not simply so, and in the power field penetrated by high-tension currents which forms it, moulds in all definiteness, or on the contrary, tries on rupture, deforms, rumples, dissolves … This field – the spatial environment sated with drama conflicts of light and a shade if colour, light and tone is entered, environment active, form-building, breathing, metaphorical expression whole – matters, lives … From here – distinction of an emotional tone of this environment – that disharmonious, prickly, dramatic, quiet and clear, that, as though transitive on the condition – as if got by mood of expectation, changes.
Plasticity working out, too distinct and not subject even, and the spatial nature of the represented conflicts is too serious. It is felt that the artist speaks about the most important thing – about human values.
One “baroque” paradoxicality of its manner seems too superficial, others have managed to distinguish in it a projection of real structure, distraught feelings of the modern city person – fluent, high-speed, restrained in the dynamics.
Undoubtedly that it develops in the schedule own line because the baroque contradiction between coldish выделанностью invoices is inherent in it, on the one hand, and on the other hand – refined working out of drawing and scale and required generous dramatic nature of figurative sounding.
Its last works they carry эмблематичный character, so формульны, and symbolically looking in the attempt to give the visible entertaining form to abstract semantic concepts. These are the works becoming magic, and simultaneously not which riddle and a parable.