Marina Kostalskaya represents those “gleamy” painters whom observant eyes would recognize as important symptoms of the epoch. Kostalskaya is not the only contemporary author, whose works are permeated by spiritual energy, but without doubt the most significant one. Throughout last thirty years that she’s been working in graphic techniques she focuses on a local area that she identifies as “monumental graphic”. Her technique is unique as she turns paper into three-dimensional structure and directly immerses in it. As among her teachers there was M.A. Roginsky, Marina Kostalskaya draws on Russian avant-garde of 1920s, European non-figurative art of 1950s and 1960s, which thought of itself as of a realistic art. Whether it means that work of a paintress is a secondary one? In no case.
Kostalskaya has found the language of modernism fit for Christian communication. Not only doesn’t the paintress conceal, but in every way stresses her interest to the biblical message, what can be seen in names she gives to her pictures-objects, mosaic droplets that gleam on the surface of some works, in the image of a “bowl” that passes from one picture to another. A viewer can’t but inevitably feel the desire to see connection between plastic legacy of icon painting and the language of Russian avant-garde.
Kostalskaya fits the feelings about the modernity into the present, marking them as archetypical. But then the origins of any phenomenon belong to not just historical past: they are up-to-date in relation to the process of historical infancy and continue to function within it, like a fetus continues to function within tissues of a mature organism, and within mental life of an adult person you can see vestiges of his child psychology. This process is extremely precisely reflected in the very methodology of the paintress works.
As philosopher Franco Bernardi put it, “humankind needs to restore its “body” and abandon description of its properties in terms of automation of power and production”. Kostalskaya project answers this stance in full measure. Outer cultural signs – crosses, squares and bowls – are just directing signs in her travel “back to the future”. Her actual task is that sort of antiquity that forms the basis of the art and always remains up-to-date.
Copywriter: Bogdan Kirillovich Mamonov (born 1964 in Moscow) – Russian painter, curator, art critic, creator of installations, pictures, video slide films, performances and book illustrations. In 2005, as a member of ESCAPE he represented Russia at Venetian biennale.