Monika Kovatsch, her atmospheres and the work Nature-a cura di Maria Marchese e Valeriano Venneri

     Zoomonart.blogspot.com

     Arte Contemporanea 

      Monika Kovatsch, 

      her atmospheres 

    and the work Nature 

Curated by Valeriano Venneri

 e Maria Marchese

In the works of the German artist Monika Kovatsch, the viewer has the feeling of being absorbed: attracted and captured, he then becomes part of it; in these marvellous compositions, executed with very well-combined colours and bestowed, then, in a harmonious and enjoyable combination, the individual becomes an integral part. 

Her artworks, skilfully elaborated as well as skilfully executed, have, behind them, a very important and meditated creation work, which is the result of an extensive background of studies and experiences, in the artistic field.

The values, on which his production is based, are, essentially, spiritually and the relationship that the Spirit assumes with the circumstances, which surround him. The artist proposes an approach, deriving from the divine Intellect, that arrives at human conditions, making them unique and unrepeatable. 

In her works, therefore, one can almost always see levels: a first one that has a close relationship with the human being, the environment, the air… and, at the same time, a second one that envisages the supernatural; it is precisely this super-sensible interlude, made up of her splendid atmosphere, that constitutes the crowning point between the earthly and meditative dimensions.  

Monika Kovatsch paints her own profound interiority and the relationship her self can have, on the one hand, with the supernatural being, and, on the other hand, with earthiness, with the finite world.

Her canvases appear, presenting, first of all, matter, which covers the entire surface, but which becomes evanescent, intangible, at certain points; these are the spaces, in which Kovatsch has the need to emphasis certain messages, which can be placed in relation to light, to revelation, to existence. If you look, to the point of careful scrutiny, always, you will notice at least one detail, sometimes even more than one, that distinguishes, in the context of the work, her most intimate path and this exclusive and indissoluble relationship, which she has, with the Divine Being.

The relationship between the spiritual eternal and the earthly finite and transient is the fundamental point of the artist Monika Kovasch’s message: the suspended and the silence are the crucial moments, in which these two spheres, these two different worlds meet… There, she is able, by shading and toning down the colours, in a peculiar way, to communicate exactly the fullness of those diastems, describing this fundamental moment of union between the divine and the earthly universe.

The relationship that the artist established with the spiritual essence is a strong and convinced bond, so that she herself and her introspective journey, almost, could be compared to the creative process, laying, in fact, through the resolution of this creative syntagma, the foundations, for the execution of these artistic concretions.

The path to the completion of a work of art, indeed, above all because it is ‘birthed’ from the depths of the self, is an itinerary fraught with difficulties, thoughts, rethinking and experimentation, which the artist brings to fruition, with great skill.

Nothing is the result of randomness: the size of the canvas, the use of certain colours instead of others, the positioning of flashes of colour more vividly in one part, the blurring of certain tones all have the purpose of creating this astonishing eurythmy, present in the works of the great artists of the past as well as in the works of Monika Kovatsch. Capturing, stopping, and thus painting the instant, in which one wants to give substance to an evanescent idea, called atmosphere, is the most important and magnificent revelation of the artist’s works.

The atmosphere must, first of all, be felt, perceived, and, afterwards, it must be contempletated, as a symbol of beauty and greatness.

Kovatsch's art must be felt, at first, with emotions, with sensations, and, then, it enters the visual sphere; it is an art that is produced by the Intellect and that must return to it, after having traveled a circular, spherical route.

The celestial spheres are translated into ideal angelic music and touch, then, earthly weaknesses and corruptibility, changing into an intriguing and profound atmosphere, whose highest point, that can be reached, is the conjunction and dialectic between a divine nature and a human nature.

The element of creating environments, areas, is the most innovative element, in this moment of art: the German artist is firmly convinced, that the composition must possess personality, but, at the same time, it must also make the viewer ‘perceive’, the most ‘natural’ aspects of the work. To the viewer, the more invisible aspects, the points of view that give moral force to the work and the viewer.

Monica Kovasch’s answers finds a possible solution in Love, in the sense of Amor Vincit Omnia, which allows humanity to come as close as possible to the divine. 

Artistic poetics, in Monika, is a constant education in the elevation of the individual, a constant quest to improve, to sublimate his existence. 

Nature Monika Kovatsch

100x70 cm Acrylics, canvas on wooden frame

“If nothing eternal existed, not even becoming becoming would be possible.”

                                      Aristotle 

Monika Kovatsch appears as Nut, the Venus weaver : Lady of life, she stops the spirit, in the human being, through breathing, which thus changes into a full and, at the same time, subtle and impalpable, though necessary, "breath" , transforming itself into warp and weft, on the loom.

An eternal breath makes “Nature” pregnant and, in it , flows “the coming to... “ . Since time immemorial, the art of weaving  has been identified with the profiles of the feminine goddess and, likewise, linked to the sacred femi feminune. Weft and warp represent, then, yin and yang, inhale and exhale of life. To weave is to create: the gentle, yet solid, ‘warp’ , which appears, at the meeting of the vertical ‘threads’ and the horizon, is the pentagram , in which divinity weaves, through the levity of gesture, eurythmy. Suspended  in a conscious meditative state, Monika Kovatsch takes possession of tonal notes , caught in the veracity of her deepest creed and in the immediacy of acrylic pigment: the brush and the bristles change, then, into a spinning wheel, to stretch the threads of a modern Ascension. Like Nut, in it, the German artist ‘pulverises’ her own identity, taking on multiple faces: she is, therefore, Brigid, devotion, Isis, knoledge, Aphrodite, beauty, Morrigan, boldness, and Amaterasu, whose weaving is the symbol. 

All this happens in the timeless space of an ‘ascensio’. Which has its genesis in a liquefied earth… it disintegrates, eventually losing weight, and materialises in pure spirit and light. 

The brushstrokes, in this sense, represent the liturgy, through which the “drape” appears at the edge: author gives  the observer a white sheet, in which to welcome the truth of an infant, after the “baptismus”.  The author narrates this transcendental experience as a kind of tra substantiation: there, the experiential sea evaporates and rises to the sphere of the Creator.

In the cognitive sea, the emerald and unconscious forest is reflected, fiery and purple passions, dazzling rays of sunlight, which seem to embrace and envelop that globe in the sacredness of gold. 

As in ‘The Island of the Dead’. By the Swiss painter A. Bocklin, one of the greatest exponents of German Symbolism, a boat is the protagonist of the canvas, but, on the contrary, while the artist captures a grave and inexorable instant, where the individual moves towards the darkness and the fixity of the rock, Monika Kovatsch Monika Kovatsch transcribes, “stealing” it from her firm faith, an artistic act, which is, in reality, an ode to Mother Nature, “magistra vitae” , "re-ligo" , where God, man, Earth  and her elements are an unbreakable and unequivocal unison.