Current Works to Look For IMG_1279

Silk Road FoyerSilk Road Foyer

Consisting of two parts, an installation and a series of prints on paper, this piece can be seen as a physical entrance into the realm of my work. The full- size figures are first painted on silkscreens, then printed onto translucent fabric with paper underneath. The prints on paper adorn the walls, much like my other 2D works, while the fabric prints are assembled throughout the space, allowing the viewer to walk amidst the figures. This accentuates a primary concept behind my work, that of individuals in communities both great and small and their interrelatedness, a subject that is convenient to ignore in the general and overwhelming preoccupation we have with ourselves when private intellectualism is held above emotional connection.    

Day Six, 1:27pmDay 6, 1:27pm (Of Man)

When the words of Genesis pass from literal description to metaphorical concept, Creation becomes a direct and personal experience rather than a historical account. The separation of conscious light and the dream dark, of mystical water and the secular firmament, the naming of things by man in a world without language, all of these actions we recapitulate in every moment of our being. My experience of Genesis, Chapter 1 Verse 27 is eternal in the sense that the creation of Man is not a moment in time, but rather, it is the ever occurring event of which time is made. Man steps into existence through every moment of waking life, vertically from chaos, an elemental explosion from water and fire.    

East Quarter EmulsionEast Quarter Emulsion

The relationship that exists between object and setting is a subject that I explore in this series. Featuring the portrait of an elderly woman from East Berlin, I use the repetition inherent in printmaking and the variable nature of my work to discuss the way in which an individual and his or her environment are both relevant and irrelevant, defining and confusing, to personal identity. As regards the woman of this piece, the polarities exist in clearly painted portraits with obvious context to heavily abstracted images where the borders of subject and background are eliminated. These two ideas and the spectrum between can be likened to a scientific documentation of any two substances undergoing the process of emulsification.    

Three Men Slowly Walking to the Optical ChiasmaThree Men Slowly Walking to the Optical Chiasma

The optical chiasma is the place in the brain where the right and left optic nerves cross in route to the cerebral hemispheres, distilling two separate images into one with accurate perspective.  

Statement

  In the work that I create, I seek to represent the figure as a malleable reflection. The figure is set on paper in much the same way a person is placed into life, with flaws, unpredictable beauties, imprecise edges, and acute definitions. While some of my work is conceptually based, the overall emphasis is in the felt experience. The visions I distill through paint and other media serve as a mirror of life. When painting from a model, a photograph, or an image in my mind, I begin from an internal place of emotional observance, allowing the technical aspects to follow. Using watercolors allows for the blending of form and a process of creating a sequence of layers that evokes ideas of space and time. Meanwhile, the repetition involved in printmaking creates a community of figures, either anonymous or easily recognizable, to show certain commonalities of the human experience. It is little surprise to me that my work has always been predominantly figurative, since I find human beings endlessly fascinating and I express my observations through my work. As a child and young adult I moved around, from New York to Kansas City, then Alabama to Chicago and Texas to Florida. I encountered different skylines, main streets, landforms, and changing seasons, but what fascinated me most was not the settings but rather the people. With such short roots in any particular place my interaction has been characterized by being an observer more often than a participant. At first, the people seemed very different, with different speech patterns, likes and dislikes, and goals in life—but I observed they shared a universal commonality in relation to human passion, suffering, joy, and pain. Likewise, in my work, I lead the viewers and myself into these shared experiences rather than differences. My work encourages the viewer to think about the condition of being human, both as an individual and part of the community.

A Recurrence Observed, Mixed Media on Paper, 2013, 7ft. x 7ft.

A Recurrence Observed

 This piece is not about Chairman Kim Jong-Un. I’m using this person to demonstrate the concept of Recurrence. When Warhol painted Mao, China was an isolated nation at the early stages of industrialization, a nation that the United States dealt with at a distance and held at odds. Currently we can see a similar state of affairs surrounding North Korea. Though this episode in history is certainly unique to its own circumstances, with far more serious potentialities of destruction, the recurring nature of this experience and our cultural mindset of fear in the United States is our current reality.  By recognizing the facets of repetition we can hopefully be more aware of this present time where the stakes have been raised. Only by awareness can habitual reaction perhaps result in conscious action. The ebb and flow of recurring events carries man along the shallow wave of time as an unconscious participant rather than an active doer. Here time is the great illusionist, separating events and making originals out of copies copied many times over. Perhaps this is a condition of Man’s existence, a burden of forgetting and repeating, but if at moments we are able to simply observe such truths, then for a moment we stand outside the carousel, watching the moments and the prints circle round and round, each face and façade unique but in many ways the same. As you look at these prints, you might get the uneasy sense that this has happened, that has happened, and these things will happen again.

TransXpress, Shanghai, China

This man bought a postcard with my work on it and will send it across international borders via mail.

Resume

pic of meNatalya Kochak

Artist Residencies

2011
  • September- January: Takt Kunstprojektraum, Berlin, Germany. I worked on a project specific to Berlin and participated in open studios through the residency.
  • January : Delta Art Center, Masaka, Uganda. I taught art to under privileged children in Uganda, Africa, I also spent time working on my current art project and I traveled the country to experience life there. Awarded a Kickstarter grant for $3000.00 to go to Uganda to complete this project.
2010
  • October: Red Gate Gallery, Beijing, China- I participated in the Beijing art scene. I showed my work while there in the studio and gallery.

 

Solo Shows

  • 2011    Dec: Kunstraum Tapir, Berlin,Germany- Of Man
  • 2010    Aug: Pump Project, Austin,TX, USA- The Family of Man in Watercolor

Group Shows

  • 2013   April: Lowe Museum of Art, Miami, FL, Juried Show, Won the Marion Jefferson Award
  • 2012   Nov: East Austin Studio Tour, Austin, TX, City wide art tour of studios
  • Aug:TransXpress,Beijing, China to Moscow, Russia, A project on the Trans-Siberian Express
  • Aug: University of Miami Gallery, Group Show
  • 2011    Dec: TamTam Art, Berlin, Germany- 1+1=11
  • 2010    July:  Pump Project, Austin, TX- The Hot Prints Show
  • 2008    May: Pump Project, Austin, TX- Little Gifts show
  • March: The Austin Figurative Gallery, Austin, TX
  • February: The Austin Figurative Gallery, Austin, TX
  • 2007    Sept.-Nov.: Circle Infiniti Art Space, San Antonio, TX, Scene Me
  • 2006    July- Dec.: The Root Cellar, San Marcos, TX
  • 2005    Aug.- October 2005: Atlanta Artists Center 2005 National Exhibition, Atlanta, Georgia, Second Place Winner
  • May- June: PAA 2005 National Juried exhibition, Plano, TX
  • May- June: Southeast Regional Juried exhibition, Niceville, Florida
  • May: BFA Thesis Show, The School of the Art Institute of Chicago, Chicago, IL
  • 2004     Summer: August House Gallery, Chicago, IL- Waterworks
  • 2003     July- August: Skopelos Art Foundation, Skopelos, Greece
  • 2001   April: Art Bash (SAIC), Chicago, IL
  • 2000-2005: Merit Scholarship Recipient (SAIC)

Education

  • 2001- June 2005: The School of the Art Institute of Chicago, Bachelor of Fine Arts, emphasis in painting and video production.
  • Fall 2003: Auburn University- Montgomery, Montgomery, AL, studied business, advertising, and marketing for one semester as a complement to my art skills.
  • June 2003: Summer Study trip: Greece, Visited antiquities in Athens, Kalambaka, and Skopelos. Participated in workshops on different methods of printing (oil and watercolor monoprints, etching, etc.)
  • August 1999: The Kansas City Art Institute, Kansas City, MO.: Summer Program

Work Experience

2007- current: Bluebird Design, Austin, TX, Owner www.bluebirdesign.com Create original designs for murals, decorative painting, and faux finishes for residential and commercial spaces. We specialize in restoration as well. My company is also working on a line of high end art wallpaper. We travel all over the U.S. to meet our customer’s needs.

Contact

Natalya Kochak 312.933.6626

Events