by Alexandra Osadkova4 May '18
Female Samurai Warrior oil painting
Unearthly nobility carved out in a timeless place!
A central aspect of Virtosu Samurai Canvas is action. Our figure here is the embodiment of rapid motion as the oscillating lines within the figure are reminiscent of the adept sweeps of a sword in combat. In the estuary excavated under the chin figure and ground substitute each other and interlock as if to signal the stealthiness of the warrior – the ability to conceal herself and thus alternate between the appearance of the object and that of the ground.
The figure is suspended in space, prominent and advancing in a field of reds and gold and outside of any discernible earthly locale. Time too seems frozen, and the multifaceted rendering of the figure shows it in motion that is halted by the fixing eye of the artist and spectator.
Prism - Samurai Abstract
The figure is not exhaustively portrayed in detail but more indicated through the prism of the medium of abstract painting which, by this lack of finality, is implied to be either a discursive observation of the nature of perception, of self on the artist's part and of the world, or an acknowledgement of the medium as provocative of thought that open-ended.
This inconclusiveness prompts a creative interpretation on the part of the viewer, with the artist shrinking from a simplistic statement in order to deploy a nuanced suggestiveness that engages.
Tension and flux
As such, Virtosu 's abstract here is anti-totalitarian because it does not commandeer the reins that control meaning but rather envisions signification in a social realm of dialogue. This is highlighted by the tension and flux between the figurative and the internal mechanics of form and color.
Depiction - Samurai Canvas Painting
The figure is depicted with an unearthly nobility, carved out in a timeless place. But this does not necessarily elevate it above all else as what are imbricated together within the canvas are the noble subject-matter, the artist's crafting and the perceptual responses of the spectator.
The artist 's colorism is typified here by either abstracted and intensified light facets or the transference of the aesthetic into the ambit of the subject-matter. We need not decide for one or other of these options, as the artist maintains in his statement the cardinal virtues of the ongoing evolution and commonality of the determination of epistemological and ontological meaning.