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Art Speak, the prestigious arts magazine in New York, featured a review of her bronzes in their March, 1993 issue, during her exhibit at Varig Air Lines (March 2-12). The author of the article wrote: “New York is for tunate to have an exhibition by two experienced artists from Brazil (Narozniak and Irlandini) who are significant to the art scene in that country.” Ms. Narozniak has received offers to exhibit in France, Italy and Germany, but the costs of such ventures are very high. “It’s easy to talk about doing such exhibits,” Ms. Narozniak ex plains. “But the cost of renting space in galleries as well as transportation costs for the bronzes are not afford able.” Ms. Narozniak’s sculptures are predominantly of the female form, although she is also working on bronze masks. “The primary overall form is a triangle,” she explains, “and then you have to harmonize the planes and minimalize the visual cliffs.” She continues by say ing that negative space is critical in her bronzes, since it gives more meaning to each composition. The bronzes are not a result of her emotional state, just simply a geometric abstraction of the figure. Ms. Narozniak feels One of Narozniak’s female form bronzes, on display at Japan Airlines Gallery in New York City. P h otos b y H. K uzyszyn. sculpture, more so than any other art form, offers end less creative possibilities. “However,” she says, “in sculpture you have to have unity — it’s like music.” Common artistic themes like motherhood, young lovers or “the little girl with a cat,” she feels, do not excite her. She searches for the forms that can be created from triangles, and depicts these forms in var ious positions. Ms. Narozniak emphasizes that it’s “the overall movement,” which is the driving force in her creation of bronzes. The bas relief masks of Egyptian characters, which she is working on, have strongly defined features, unlike her sculpture, where the focal point is the form. Perhaps the strongest features of the masks are their eyes, which Ms. Narozniak’s friend and fellow artist Giuseppi Irlan- dini describes as “headlights of a car.” Although not many from our Ukrainian community came to see Ms. Narozniak’s exhibit, she wants to come back to New York with her bronzes in the near future. When exactly, cannot be determined, until the sculptor will be able to collect more funds to exhibit her art. In the words of Ms. Narozniak, “it’s a life plan.” CHRYSTYNA PROKOPOVYCH — CURATOR OF THE UKRAINIAN HERITAGE STUDIES CENTER AT MANOR JUNIOR COLLEGE HALYNA KUZYSZYN As the newly appointed curator of the Ukrainian Heritage Studies Center, Chrystyna Prokopovych has one clear goal in mind — to make both the Ukrainian and non-Ukrainian communities aware of the Center, and to encourage as many educators and organizations as possible to come visit its museum. Manor Junior College was founded in 1947 by the Basilian Sisters. The Ukrainian Heritage Studies Center at Manor Junior College in Jenkintown, Pennsylvania, was founded in 1976 by Christine Izak. She and other organizers were interested in promoting Ukrainian culture, spiritual values and to stimulate community life. The Center itself consists of four branches: the folk art museum, Ukrainian library, Ukrainian archives and a series of Ukrainian academic programs. Ms. Prokopovych is in charge of the folk art collection started by Christine Izak, who is still at the Center on a consulting basis. Ms. Izak has helped the Center receive grants, which promoted many artists in creating their art works. Ms. Prokopovych feels that Ms. Izak has done a tremendous service to the Center and that she “put all her love of Ukraine in this place.” Ms. Prokopovych also arranges workshops at the Center in Ukrainian crafts (non-credit courses) and Ukrainian language and history courses (for credit). Some of the non-credit workshops offered are: gerdan "НАШЕ ЖИТТЯ”, ГРУДЕНЬ 1993 21
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