Natalia Vostrikova Khvost - The Critique

Nataly Khvost is an extremely interesting example of a cultural and artistic amalgamation. She was born in New York, but studied and lived in Moscow. Guillaume Apollinaire would certainly have described her technique as Orphic Cubism, the transition between cubism and abstract art. Unfortunately he wasn’t able to see what art had in store for us after him.
 
The Futurist representation of speed and motion is a prevailing motif in Nataly’s art, although it is not the continuous and dynamic repetition of the object that creates movement, but the brushstroke applied with verve and panache that never lets the eye rest idly on one or another specific part of the canvas and mingles together in a swirling multitude of vibrant colours that gives Nataly the grand entrance into Neo-Expressionism.
 
Her paintings are invariably populated with distorted female forms, arguably incorporating aspects of the male anatomy within them - in an almost transgender approach to her subjects. Interwoven figures in serpentine embrace become on the one hand an amorphous mass, yet delicately articulate their individual forms. Vibrant symphonies of colour simultaneously delineate and blur the objects of our gaze. But the gaze is what Jaques Lacan would describe as an extra-diegetic gaze - the state of anxiety induced by the realisation that we have become a visible object. Where we both see and are seen. The gaze is reciprocal.
 
The sense of movement within the pieces is palpable. The fragmented forms positively vibrate with life. The layers of sumptuous colour themselves providing the spatial perspective which in turn generate our intense emotional response to the work. The imagery is oblique yet tangible, and draws us more deeply into the paintings. Emotions ooze from the canvas and into our psyche.
 
Every inch of the canvas is packed with resplendent phantasmagoric colours and with a fervent and climatic brushwork that make the paintings palpitate with the vital energy of passion and emotion that originates directly from the nuclear core of her very existence.
 
Samuel Beckett said: “Dance first. Think later. It’s the natural order”. Nataly’s brush dances over the canvas in a sensual, instinctive choreography – she has truly captured the natural order of things. Carpe diem!
 
Karen Lappon
International Confederation of Art Critics