Reflection of the process of creation

As Cezanne said – "It’s so fine and yet so terrible to stand in front of a blank canvas".  I know from experience that actually the scariest moment is before you draw the first line. Then gradually everything comes to its place. There is a point for you to start with, to guide you and you don’t feel lost in the infinite white. You build up a strand with one movement.

In my opinion there is no other way of reflecting the whole process of creation of an artwork but I have noticed that people show an interest in learning how things just happen. I am also very curios in watching the consecutive stages when a colleague works. For that reason here I present different stages of the process of creating of a painting of mine – starting with the first dashed off strokes which define the overall structure of the composition, passing through clearing up the images and specifying the details to the right finish of the artwork if it can be defined as such because it seems to me that rarely a painting is equally completed in two different moments.


process 1

   process 2

Maria Dryanovska, "Stardust and Love I"

It is clear that this is simply the technical aspect of painting an art work. There is no other way to support the inner process of creation by photos. My emotions and feelings can’t be neither shot nor defined. There is even no need, being just emotions – they are to be experienced and not be defined by words. Each single work of art comprises the whole process of the inner drama experienced by the artist. It is a reflection of the spirit but it is not synonymous because it changes depending on the perspective of the perception of the recipient. It looks like a working pad of a psychologist but in recognizable imagery and color harmonies. In the process of creation I express myself nonverbally. To me the significance of the painting, irrespective of being figurative or not, is to make you feel, not to make you ask yourself "what does it mean’’. To put the question ‘’what has the artist meant by this work" is as good as to ask why everything around us exists.

At this point I am at a stage of my creative work in which I deliberately avoid in my paintings to embrace the social problems that have gathered head. But the moment I decide to display such a commitment it will not be with the purpose to tell people what to do or to teach them but to share my anticipation for the future possible consequences of what happens today. And if then somebody  has the sense of inward necessity to act here and now in order to work a change in him/herself and in the surroundings a magic emotional transmission will be carried out between us which is my main purpose in art as a matter of fact.

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