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ITALY, 2014

Uma figurazione, quella di Rosae Novichenko, che proviene dalla genialità creativa della mente dell’Artista. Uma figurazione attenta alla forma e alle diverse tonalità cromatiche. I suoi dipinti sembrano delle vere sinfonie musicali. Opere che viaggiano lungo lo spartito della bellezza segnica che affascina lo sgardo dell’osservatore.


A figuration the one of Rosae Novichenko, that comes from the creative genius of artist’s mind. A figuration that pays attention to shapes and colors’shades. Her paintings looks like real music symphonies. Artworks that travel along the staff of symbolic beauty that fascinates the observer’s glaze.

Salvatore Russo






Curators:  Martina Kolle e Ingrid Gardill



In Rosae Novichenkos Malerei begegnet uns eine unwiderstchliche Kraft, die sich in ihrem Werk Ausdruck verschafft. So verwandelt sie in den blütenbildern ihre Eingebungen in Malerei. Trilogy of the rose, part 2 und part 3 zeigen formatfüllend klar erkennbare Einzelteile von Rosenblüten in Nahsicht, die bei genauerem Hinsehen ihre Formen verselbständigen, im Detail sogar abstrahieren. Die Die leicht verlaufende, hier und da Wölbung modellierende, durchbrochene Strukturen formende Farbe ist zum Ausdruck ihrer selbst geworden. Novichenko verwender nur einen einzigen Farbton, auf den sie helle Lichter setzt oder über den sie mit dunkleren Farben geht, um Vertiefungen anzudeuten. Die weit eingekerbten Blütenformen und ihre unregelmäsig gezackten Ränder, wie auch die Risse und Löcher in den Blüten, erlauben Durchblicke auf den tiefschwarzen, monochromen Hintergrund und heben das Malven-Rosa kontrastreich hervor. Durch die lebhaften Formen auf den Oberflächen und an den Rändern der Blüten entsteht ein eindrückliches, energetisch sehr bewegtes Bildfeld.

Dieses ist in dem dreiteiligen Bild Trilogy of fire durch die mit weisen Punkten nach ausen strebenden gelben und wisen Formationen der Staubgefäbe in der Dynamik zusätzlich gesteigert. Sie wirken sogar wie Funken, während die Blüten selbst wie die Flammen eines Feuers Züngeln.

Die durch die Künstlerin wundervoll ins Bild Gesetzten Farben und Formen der Natur sind Kunst gewordener Ausdruck der Essenz in allen Dingen. Daher Bergen sie jenseits ihrer dynamischen Erscheinungsform eine Dimension grober Stille und Erhabenheit als Ausdruck einer tiefen Wahrheit.

Ingrid Gardill

Internationale Kunst Heute





"The Sublime... Illuminated" by Jason Stopa.     

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  In their seminal work entitled “Geodesic Parameterization” Lior Shapira and Ariel Shamir describe a viewpoint rather unlike our day-to-day exis­tence. It is the perspective of an insect. Their scientific work, which focus­es on perceptive states of consciousness, is quite compelling. They relate about one of their projects in which they “tried to acquire the perspective of an ant living on the surface. The point on which it stands is the center of its world, and importance diminishes from there onward. “ When we view art works, it is as though we are communing with them. When view­ing a Rosae Novichenko abstraction, we enter an intensely personal space where we recognize our own insignificance in the face of nature. One be­gins to sense that we are an ant or grasshopper resting on the precipice of a petal-like abstraction. Rosae Novichenko’s paintings introduce us to an organic cosmology that probe deeply into our psychological structures. Rooted in nature, she creates sensuous semi-abstractions by pouring rich acrylic pigment onto canvas. She then allows for chance operations to en­ter the picture using stains, pours, and splatters. This opens the doorway to experimentation and play. Collectively, her bodies of work summon connotations of majestic sublimity, mystical considerations, and visionary ruminations. It is a point of view that is distinct and refreshing in contem­porary painting.

Brazilian born Rosae Novichenko is an internationally renowned con­temporary artist known for her innovative and unique paintings for which she has won numerous awards. An incredibly adept painter she is also multi-talented. Her oeuvre includes working as an active designer, poet, photographer, actress, and musician. She relates that “my painting is the fruit of the intimate proximity I’ve already had with music composition, poetry, dance and drama, which have in their gestural movement their power of manifestation….in this way my painting is born, due to a pure imagination, a strong emotion, intuition, gestural action, absolute con­centration, control and freedom– in a single moment.” This kind of syn­thesis of the arts is what was so sought after by the modern artists of the early 20th century. The creation of a pure and total artwork was what they were seeking. In the mid-19th century the German opera composer Richard Wagner called this a Gesamtkunstwerk or total artwork. Wagner used the exact term in his 1849 essays “Art and Revolution” and “The Art­work of the Future”, wherein he spoke of his idyllic unifying project. It is a project that seeks to combine all artistic expression into the consummate artwork of the future and the integrated drama. Such a work of art was to be the clearest and most profound expression of a folk legend, deflecting away from life’s particulars and amplified into a grand, universal, human parable. Novichenko fits squarely in line with this artistic pursuit. Her lush, organic abstractions carry an intense, emotional affect. By staining the canvas with wet pigment she creates a delicate, viscous surface. This pro­cess is comparable to that of the late Helen Frankenthaler. Frankenthaler is primarily known for her large color field paintings of the mid-20th cen­tury. Her seminal work entitled, Mountains and Sea (1952), bears the effect of a watercolor, though it is painted in oils. In it, she introduced the tech­nique of painting directly onto an unprepared canvas so that the material absorbs the colors. By diluting oil paint to a consistency that would make it absorb directly into the canvas her work has the effect of creating halos around the applied area. Novichenko employs a similar method and adds to it by applying heavy handed splotches of paint. These splotches indi­cate the luminosity of stars and the blossoming foliage of flowers. In many works they seem to be glowing like fireflies in the night. In the painting Flores Noturnas, a deep pthalo blue sky rests atop an all-encompassing field of flowers. Their yellow, spindly stems sprout up around deep, brown-blue dirt. Bursts of white and yellow paint define the flower buds in bloom, radiating like white pillars in the dead of night. These impasto laden buds of white paint glow with the luminosity of the cosmos. Our perspective is that of a grasshopper perched below the stems on the dirt ground. As we glance up at the sky we are all but swept up in the majestic reverie and our infinitesimal size in relation to it. For many of us, our daily life is consumed by the mundane and banal. We rarely encounter the splendor of nature and experience its sublimity. It often times is only revealed by pulling back the curtain of the commonplace and opening our eyes to the immacu­late world beyond the world. In this painting, Novichenko pulls back this very curtain. Upon viewing this work, I couldn’t help but be reminded of the noteworthy Russian Futurist poet Velimir Khlebnikov. Khlebnikov envi­sioned cities of the future colliding with the present. He wrote futurologi­cal essays about such things as the possible evolution of mass commu­nication, high speed transportation and modular housing. He illustrated a world inhabited by beings that live and travel around in mobile glass cubicles that can attach themselves to skyscraper-like frameworks. One could say that his early 20th century vision was prophetic and telling. In his poem entitled “The Grasshopper” he expresses the poetic qualities found in Novichenko’s work. He remarks

“Wingletting with the golden scrawl

Of its finest sinews,

The grasshopper loaded its trailer-belly

With many coastal herbs and faiths.

“Ping, ping, ping!” tra-lah-ed the zingzinger.

O, swanderful!

O, illuminate!”

Peering into this vibrant work is like sitting in a flow­ered field with a grasshopper, only to find out that we are not so different after all.





Novichenko’s work additionally shares a relation­ship with alchemy. Alchemy is both a philosophy and an ancient practice focused on the attempt to change base metals into gold. It was also largely invested in in­vestigating the groundwork to end death and achieve ultimate wisdom. On the more pragmatic level, it was seen to be a proto-science crossbred with metaphysi­cal leanings. Yet certain Hermetic schools argue that the goal of transmuting lead into gold is analogous to the transmutation of the physical body into an immor­tal soul. This is a rather poetic view. Centuries later, we deem Alchemy as an early attempt to integrate our spiritual yearnings with scientific empiricism. Howev­er, Alchemy’s poetic transference is still palpable. In essence, Novichenko is concerned with realizing the actuality of alchemical thought, using paint instead of lead as her medium. When she manipulates acryl­ics she does so to express profoundly mystical senti­ments. It is therefore not simply a representation of a flower-like abstraction but a sign that points to tran­scendence; transcendence of the physical into the realm of the spiritual. She goes on to remark that, in recent years, she has been developing a new kind of art both in painting and in music, which is a manifestation of “art beyond art – an expression of the new millennium.” Her refreshing works herald in a new era of painting at the dawn of a new millennium. 




  A like-minded thinker, the16th century theorist Robert Fludd was heavily involved in the nature of the perceptible world and transcendent realms. He produced diagrams describing the process of perception, con­sciousness and psychology. In them, Fludd wanted to explain the nature of the perceptible world as being classified into the four realms of sensual, imaginable, intellectual and sensible. He illustrated how these realms are perceived by the psychological faculties which he classified in three pairs; science and imagination, conscience and reflection, and, memory and motive. His work highlighted the interplay and connection between the different psychological faculties within the psyche and their relation to the perceptible world. For Fludd, the soul is described present in all the three parts of the psyche, always as the intersection between a pair of psychological faculties. Adding to this idea we could remark that the art­ist intersects this elaborate diagram to act as a liaison between the soul and the psyche. In a sense the artist then becomes a shaman. The ailment here would be our cultural deficiency to acquiesce to the grandeur of na­ture. Shamans function as intermediaries or messengers between the hu­man world and the spirit worlds. By alleviating traumas affecting the soul the shaman restores the physical body of the individual to balance and wholeness. Here, Novichenko is the artistic shaman, and in this case she provides access into supernatural realms and dimensions to awaken our senses to the restorative powers of nature.

In magnficent works like Vermelho IV, Novichenko discards the use of a field with foreground and background relationships for an abstract mo­tif. An amorphous, scarlet colored flower encompasses the pictorial field. In the top hand right corner, a dark crimson center swirls like a backwards letter S. It is speckled with bright flecks of thick yellow paint. The yellow flecks seem to have been flung onto the surface from a horizontal angle. The ambitious decision to surround the viewer in a labyrinthine, flower bloom is extraordinary. The stigma of the flower is so richly populated with white flecks atop deep crimson and umbers that it narrows our sight into tunnel vision. This focal point propels us into what seems like deep space. Endless and cavernous it suggests both the beautiful and the sub­lime. This work and others connect her to a lineage of painting that goes back to Caspar David Friedrich and to contemporary artists like Anselm Kiefer. Friedrich’s influence is of course present, but there is also some­thing deeper and primordial churning underneath Novichenko’s works. Friedrich’s visual language is resonant with history and the traditions of the past. One notices the meditative ambience, the desolate and chilling aspects, and the associations to past painters who were equally entranced by the mystical landscape. It is clear that he was particularly influenced by the landscapes of Venetian master, Giorgione. While he was not the first Italian artist to depict the landscape, he did imbue it with a sense of magic and mystery. Similarly Anselm Kiefer is an artist who creates spiritual and mythological works referencing the Holocaust, the Kabbalah, and Euro­pean philosophy. He is a painter who has revived the use of history and symbols to create and re-create entire mythologies and half-forgotten narratives. His landscapes are equally ominous and foreboding suggest­ing apocalyptic considerations. Throughout his works, heroic and tragic figures are referenced alongside heavenly genealogies and star charts. Similarly, Novichenko’s works seem to be cut-outs of heavenly bodies, ab­stracted on a 2-D picture plane. They are as romantic as they are tragic, creating a nexus between the ocular and the tactile. They woo us with seductive paint application, yet tan­talize us with desires and fears.





  Another work that is incredibly striking is Stellar Landscape. A massive golden, flowing stain of paint swarms a field of black. It unfolds before us like a tapestry, the underside of a leaf, or the dying embers of a fire. In the center of the canvas, deep brown vein-like forms stretch outwards to traverse the surface of the yellow expanse. On top of these forms sits hundreds of daubs of white paint, reminiscent of candle flames. The golden illuminated surface harkens back to manuscripts of the Renaissance, corroded by time. There is a flower like resemblance, yet it is only hinted at. In this work she shies away from the more literal reading of a landscape and allows the formal properties to take center stage. Burning brightly, this organic form appears to be eating and recycling its own production. It could be the primordial sludge from which all life sprung. It is an ardent abstraction and easily one of her strongest works to date.

Rosae Novichenko creates work that is effervescent, illuminating and moving. Her masterful technique of stains and impasto create a tension that propels us into the intangible otherworldliness of the sublime. As a modern day mystic, she creates dreamy abstractions that propel us to ponder other dimensions of nature. In order to fathom the ultimate meaning of these works we must realign our perspective to see beyond our physical world. *






7. Art Acquisitor. New York: 




 The abstraction is often the most definite form for the intangible thing in myself that I can clarify in paint,” explored artist Georgia O’Keeffe. Visions of nature explode across the canvases of internationally acclaimed artist Rosae Novichenko. Calling to Whistler and Cezanne, yet with defined personal touches of expressionism and abstraction, the artist creates paintings that seem to manifest their own light and absorb the colorful core and very essence of nature that her eye discovers.

Ms. Novichenko uses purposeful brushstrokes and bold palettes in the sublime works from her “Forests and Flowers Collection,” unraveling the auburns, golds, and dark umbers of autumn throughout her compositions. The artist gives a nod to Cezanne with her painterly treatment of trees and forests, filling her canvases with a lush, dynamic surface of paint that adds texture, visual interest, and movement to the magnificent scenes. She pulls the viewer into a chaotic but decipherable forest in the midst of change, an aspect the swirl of luminescent colors only enhances.

In Sonoris, a painting from the artist’s “Blue Violet Collection,” a very Whistler-reminiscent scene plays with color, creating simultaneously delicate and powerful hues and combinations that both melt into and explode out of the canvas. She truly utilizes the nature of acrylic media to bring forth its fullest potential. A flare of bright yellow light bursts out from a background as violet as the night sky and as blue as the deep sea, as abstraction that gives the work mystery and intrigue. The viewer feels as if they might be witnessing a fire from across the sea or an explosion through a warped window.

Rosae Novichenko is an artist, explorer, and researcher currently working in Brazil, Novichenko explores many forms of expression, including painting, digital photography, design, music, acting and poetry, and has received numerous awards. She recently participated in the 2009 Florence Biennale.

Ruthie Tucker Art Acquisitor. New York: Amsterdam Whitney Gallery, Fall 2010, vol.8, n.1, p.29


6. Ruthie Tucker, New York:



Gustave Courbet once said, “The expression of beauty is in direct ratio to the power of conception the artist has acquired”. Contemporary painter Rosae Novichenko creates stunning works of art which express enormous emotion and beauty through her use of dynamic color, line and texture. Ms. Novichenko transports the viewer to a magical world where one may revel in the beauty of the universe. Ms. Novichenko combines crisp stylistic designs with loosely applied paint that fuses into a fantastic melody of texture, color and light. The combination of styles illustrates the different elements in nature in an intriguing abstract manner, resulting in images that appear like close-up views of magnificent flowers, chromatic coral reefs and other dazzling forms. Her style showcases the freedom and refreshing spiritual zest with which she approaches her art.


Ms. Novichenko’s thick paint application adds tantalizing texture to her artwork. Her rich jewel-toned color palette, including lucid gold, sumptuous French rose, and fiery crimson, conveys a jubilant aura to her works and celebrates the awesome beauty of nature. Ms. Novichenko’s expressionistic depictions of natural elements, like fiery sunsets and vivacious floral bouquets, augment the natural appearance of the wild by infusing the scenes with opulent color and bold lines – thereby capturing the rapture that a ravishing vista can beget. Mr. Novichenko creates poetic masterpieces that entrance the viewer with her exquisite portrayal of images that have captured the hearts and minds of man throughout the ages.

Ruthie Tucker - New York: Amsterdam Whitney Gallery



5. Antônio Lázaro de Almeida Prado, São Paulo:

A MULTIPLE ARTIST (with a destination for her name)

When I look at Rosae Novichenko’s paintings, I hear her musical compositions, I read her poetical texts, and promptly gather two typical trends: one is a Leonardian soul, drawn to Multiplicity; on the other hand, I see an urge, a trend, or an essentially Heraclitian Weltanschaung, which can capture or infer everything with a floating dynamic energy, whose most meaningful token is to envision in everything the constituents of the visible Universe, like a fundamental energetic burst, lucidly picked up, duly awakened and at the same time dreamlike.

Let us say (quoting from poet Campoamor: "todo es según el color/del cristal con que se mira" – Everything is seen in the color of the crystal through which one looks.”) that Rosae Novichenko is dazzling, with a polyhedral vision or a kaleidoscopic perception, the basic energetic blocks, the infra-atomic particles of Flora, Fauna and the most concrete gems in Mineralogy.

This is why the houses, the cathedrals, the flowers, the sky (night sky and daylight sky), the splendid human forms (both in their females versions and/or their male conformations) – everything – tends to scintillate in ascending spirals, in fluidic configuration, from weightless and nearly floating cathedrals, in bodies that oscillate from concrete to floral, to sounds that reveal underlying depths or overlying, concrete/abstract heights, which tend to be dynamic, Heraclitan-like mutant particles. And if everything is fundamentally dynamic and changing in Heraclitus’ “Panta Rey”, then everything circulates between entropy and sintropy, or dispersion and usury, in addition to recuperative reconstruction, such as the Einsteinian view meshed with Heraclitan consumption. The most amazing thing that Rosae Novichenko’s multiple art suggests – both by means of its images’ volatile corpuscles and sub aquatic sounds sharply captured by Salvatore Quasimodo’s “submerse oboes” or Débussy’s “submerse cathedrals” – comes from the “hands that obey the intellect,” as Michelangelo would have it, or as experimented by Leonardo da Vinci and his novelty art.



4. José Estevam Gava, São Paulo:



Drawing and painting: Rosae Novichenko wakes us up for the magic and the transcendental that lie in the multiple and unimaginable forms of nature. Instead of merely depict natural data and conform them by a certain technique or previous formal design, the artist simply and skillfully lets her works grow, take form and fructify in a “natural” way. Much more than depicting, her works imitate natural life in its macro and microscopic scope: constellations and cells. When they appear, human figures and everyday objects are immersed in the same liquid and informed ambient, vegetal too, which pervade everything, creating, at its way, new panoramas and perspectives.

Some of her works slightly remind us the French impressionism, due to the fluidness, agility of forms, suavity of tones, traces and atmospheres. Other works link more properly to the action painting, because of the informalism (absence of form), emphasis to the dynamic approach - the unique moment of the freest and most spontaneous creation. Other works get the two procedures together.

Since his appearance, by the end of the seventies, the new age music has been proposing interesting alternatives to the traditional compositions still based on harmonic development, chromatic scale, intense instrumental ability, aesthetical expression full of deep emotions and reminiscences. New paths have emerged endlessly, much of them guided by a vigorous simplification on the melodic-harmonic structures (with the consequent grow in predictability), timber research and use of digitally synthesized sounds.

Dive for an interior flight, composed, arranged and played by Rosae Novichenko, stands out not only by deeply purifying the musical language, it goes beyond superseding the musical tradition of the Occident, redeeming us from all excesses, from all forged sentimentalism.

Obvious harmonic solutions and technical exhibition are carefully avoided in favor of an ethereal music, in which sounds of the nature and synthesized touches are fused in an organic complex: dream and metaphor of a harmonious and perfect interrelation among things of nature and culture.

In this music, all that could be logical and predictable is carefully put aside, bringing out only lightness and transcendence sensations. Minimal echoes can be heard in the background, through an oscillation of advances and retrieves that intersects with oceanic waves and songs of birds, reaffirming the union between nature and technology worlds. The composer explores the supernatural and sacred that sounds and music had in their origins, re-linking us to the fabulous power they exert in our lives.

Thanks to this music we can venture in sound landscapes marked by the free creation, of liquid sensations - but aerial too, waving, in constant return, as if they already existed before being heard and kept on sounding even when finished. We are launched towards the vast Universe, macro and micro at the same time, as immense and intangible as the interiority of each one of us.

In painting, as well as in music, Rosae transports us to what exists beyond the material plan we live in, scattering everything she does with an intrinsic and very peculiar poetry. Both languages get knotted in a vaguely defined fabric, but which is very powerful in waking up fine and extremely delicate sensations, which almost intangible and rich essence puts itself far beyond any objective description.

All Rosae’s production is marked with these elements that lead to freedom, to what flows perpetually, transcending rules, intentions or preconceived structures. It is exactly this natural and organic freedom that defines her and gives her the personal, unique and untranslatable personal touch.

José Estevam Gava - Historian and art critic, musician and teacher - O Poder da Rosa catalog. São Paulo: Casa das Rosas Museum, 2007



3. José Estevam Gava, São Paulo:



Since his appearance, by the end of the seventies, the new age music has been proposing interesting alternatives to the traditional compositions based on harmonic development, instrumental ability and sentiment. Many times new age simplifies the melodic/ harmonic structure and explores new sounds. Rosae Novichenko’s present work also purifies the musical language, but goes beyond: supplants the musical tradition of the Occident, redeeming us of all excesses and shaped sentimentality. Obvious harmonic solutions and technical exhibition are carefully avoided in favor of an ethereal music, in which sounds of the nature and synthesized touches are fused in an organic complex: dream and metaphor of a harmonious interrelation among thins of nature and culture. All that could be logical and predictable is put aside, bringing out sensations of lightness and transcendence. Minimal echoes can be heard in the background, through an oscillation that intersects with waves and songs of birds, reaffirming the union between nature and technology.

In her music and paintings, Rosae wakes us up for the magician and the transcendental that lie in the unimaginable forms and multiples sounds of nature, that get entangled in a soft fabric which is powerful in waking up fine and extremely delicate sensations. Rosae, multiple artist, marks her whole production with these elements that lead to freedom, to the eternal flow, transcending rules, intentions or preconceived structures. It is exactly this natural and organic freedom that defines her and gives her the unique, untranslatable personal touch.

José Estevam Gava - Historian and art critic, musician and teacher Dive for an interior flight CD inner folder. São Paulo: Lua Music Recordings, international distribution, 2007



2. Antônio Lázaro de Almeida Prado, São Paulo:



The most outstanding feature of the so-called “Pauliceia Desvairada” (Frantic Paulista character) is its manifold offer of artistic choices. As a guest poet, I took part in more that one soirée at the Casa das Rosas (Haroldo de Campos Artistic Room). At the same Casa das Rosas, I was both amazed and enchanted by the multimedia exhibit by a southern artist whose very name brings its own destination, or fate – both in Life and in Art: Rosae Novichenko (Rosângela Nowitschenko).

She is a young woman from the State of Santa Catarina, and, just like many other artists, exhibits her art, or works as an artist in São Paulo, more specifically in São Paulo City, the capital of the State of São Paulo. These artists offer us the gifts of their creativity and creative competence, for, as Keats stated, “Beauty is an everlasting joy.”.



Rosae/Rosângela (plurally Rosa and singularly Angela [angel]) is one of those beings who tenderly and lucidly look upon this immense terrestrial territory on which our vital stage unfolds, which incidentally is fulfilled both here and beyond this admirable Earth. With innovative artistic techniques (one of which is the productive technique which mixes Nankeen ink, graffiti and nail polish), Rosae coincides with Botticelli’s floral virtuosity, and instills a seminal artistic universe in which the mineral, vegetable and animal (more specifically, human) kingdoms mingle in a mesh of immanence and transcendence, of admirable formal and colorful effects. Glistening female bodies blossom in roses and dwell on the Edenic land of Earthiness and dreams – that same female body blooms in nearly audible sounds of violins and cellos, spiced with dreamlike effects and forms which are both evanescing and very much concrete.

Ever-present is the grandiose dimension of the most enchanting dreams, the quietness of forms, the celebrating joy of adornments, the successful artistic refinement, and the refined and perfect handcraft.

It seems to me that the southern Brazilian artistic presence, recently shown in Adriana Füchter’s awesome photographic art, is confirmed in this exhibit in all its precious titles by a young woman from Santa Catarina who pertinently seeks (and finds) that incidence of beauty which is an everlasting joy, as Keats would have it.

Soul mate artists such as Master Botticelli and our Rosae Novichenko, with their mixture of knowledge and flavor, make our lives richer, putting us in tune with a certain artistic emphasis which beautifies beauty and enchants us. We must ask Rosae to proceed in her cadenced revelation of beauty in life and in the lucid moments of dreams.

Antônio Lázaro de Almeida Prado - Journalist, poet, essayist, translator and doctorate professor at USP, founder of the UNESP-Assis, São Paulo, Brasil




1. Emanuel Von Lauenstein Massarani, São Paulo:


Rosae Novichenko’s work was not born out of cultural alchemies; they are not, therefore, the result of model grafting in the outskirts of informal painting. Her rhythmic and chromatic intensity, however, may evoke the revolutionary fauve painting, on which ink tubes were fired as dynamites against post-impressionistic landscapes.

This artist’s research is proposing a sort of agreement between nature and feeling, hinting at a mystical union between art and the world as projected by those painters who were part of the so-called Group of the “Blue Knight”, in the early days of Abstractionism, convinced that the chromatic rushes and the graphic deformations were in fact “truer that the formal truth.”.



   As we look upon the intense colors in her canvases and the grafted thematic relief, we are reminded of Kandinsky at the time he converted to abstractionism, when he declared that drawing should be subjected to chromatic urges obeying an inner musicality. By freely projecting her own emotions directly upon the canvas, Rosae Novichenko’s creativity can finally culminate through some aspects in Pollock’s action, Pollock being one of the initiators of American pop-art. More expressively chromatic than rhythmic, her speech’s development towards more synthetic compositions makes us think of a vigorous process of style simplification, such as in her pieces “Nocturnal Flowers” and “Sonoris”, donated to the Parliament’s Art Museum in São Paulo. 




  With her painting, the artist Novichenko releases some moments of spiritual concentration which explode upon the canvas with a domineering chromatics of blue, and with the intricacies of Graphism directly created by gesture.

Emanuel Von Lauenstein Massarani - Art critic for the São Paulo Parlamient Art Museum, Brazil, 2004 - Art book Italy-Brazil 2005. São Paulo, p.400-403


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