Observing Tanya Alvit’s works we have the impression of facing two artists. Two complex personalities, two minds that live both in parallel and interconnecting themselves. But in these works, we can find a common element that unites them both: symbolism. A way of seeing things beyond the classical patterns tied more to a ‘forma mentis’ more than to reality.
In Tanya’s abstract works, she invites us to enter into a world of colour. A world that makes us think, that captures our imagination, that manages to imprison our minds with colour alone. She gives us a message that every viewer can perceive in a totally different way. Messages in which imagination opens the mind to new horizons and new perspectives. Colour is the fundamental element of Tanya’s abstraction. The contrasts and compositions lead us into unknown worlds that we find ourselves wanting to discover.
Tanya also shows another part of herself though, another way of seeing things, of seeing the world and analysing it. The symbol of death par excellence is often depicted in Tanya’s paintings, where death is a synonym of life, and every part of the composition withholds elements of extreme beauty.
In her works we can also see the natural element of the skull connected to objects of everyday use. Both the glasses and Coca-Cola can bind the human mortal element to the real world. Tanya sees a conjunction, a link between these two objects in the same way as Damien Hirst sees reality. In “For the love of God” Damien binds the human element to the power of money and richness. While Tanya binds it more to an everyday matter, to the object per se, of daily use, thus turning her composition into a new and intelligent version of Pop Art. The critic sees a deeper and more intellectual connection to Andy Warhol more than to Damien Hirst, but all these three artists live in the same world, a world of symbols, a world of popular art, and also a world of mystery. Alvits is interesting because she takes us back centuries. “Vanitas” is a recurring theme in History of Art, and it is represented by different objects: skulls, hourglasses, candles, mirrors that underline the precariousness of man. Tanya descends into a deeper world though, more difficult than Andy Warhol’s or Damien Hirst’s ones; but in her subconscious she doesn’t paint the skull as a symbol of death, on the contrary, she sees it as a symbol of the perfection of nature.
In her works there is a refusal of the symbol in itself. A refusal of the transience of man. The connection between life and death is expressed in her paintings in a fascinating and beautiful way.