Art Critic's Review
Katerina Zaka's new work reveals the painter engaged in new quests, mainly having to do with the expressiveness of color. Remaining always the primary material for the structure of her compositions, color assumes great import thanks to the contrapuntal placement of warm and cool tones, and to a very sharp delineation of outlines. Zaka, by using unadulterated color, is led to plastic unities that bear a direct relation to stained glass techniques, while some of her works could actually be transferred directly to the medium of stained glass. In fact, the structure of her compositions evinces the "constructionist" disposition that assembles them in "architectural" or "plastic" complexes, while retaining a planar character.
|The power of these constructions is so convincing, that the
viewer is carried away not only by their structure, but their rhythm as well.
One actually gains an impression of the "aural painting" that became
known as "orphism," mainly by R. Delaunay and subsequently. It is as
if one is dealing with a musical notation, which instead of being accomplished
by written notes, is effected by colors and shapes in the manner of an organ
cantata. It is interesting that each painting is interconnected with another
precisely on account of this relationship, which like an accompaniment,
maintains and shapes the general rhythm.
Dr. Stelios Lydakis
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