Tatjana Krivenkova (1964)
Tatjana Krivenkova is a well known painter with a cultivated and extremely fine sense of colouring. Her recent paintings represent the purest expressions of absctraction. Like Peter Hoeg describes Smilla's Sense of Snow, Tatjana Krivenkova paints various light reflections – play of light on different surfaces, light divagation from darkness and pollution of light. The large-scale glazed and matted canvases are almost monochromatic, with only tiny brush strokes creating fine nuances in tone. She attempts to paint endless space, which has nothing to do with the flat surface of a painting and is something more than tones and forms for some decorative purposes. (Ilze Zeivate)
“I wanted to paint in such a way that the viewer does not sense matter, so as not to sense the painting itself, so that there would be a window, an illusion” – Tatjana Krivenkova.
By turning to graphics too, especially colour aquatints, Tatjana Krivenkova has set herself a challenge. She does not print the large runs characteristic of graphic art. Every one of her colour aquatints is made from two or three plates and each is like a unique work. The basic module of all the compositions is a square divided into nine smaller squares. With every print the artist changes the composition and colour arrangement so unnoticeably and cleverly that we get the justified feeling that we are in the presence of art. The tonally nuanced and refined two colour interrelationships are arranged in countless variations and unexpected patterns. However, in no way is it possible to transform these two colour relationships into precise RGB or CMYK colour code percentages. This is why the true value of Krivenkova’s aquatints can only be appreciated by examining the original works and why exhibitions of Tatjana Krivenkova’s works are celebrations for the many admirers of her talent. (Guntars Sietiņš)