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30 “НАШЕ ЖИТТЯ”, БЕРЕЗЕНЬ 2009 "35th and Third," 1982. Oil on canvas, 48" x 48 . " In the permanent collection of The Jane Voorhees Zimmerli Art Museum, New Brunswick, New Jersey. Is there someone who mentored or advised you that made a difference or had a major imp act on you? Not really as far as mentoring. I know that Jaques Hnizdovsky was an inspiring role model and I remember Maestro Petro Kholodny telling me that it was important to follow your own path and not be influenced by other artists. When and how do yo u know that it is time for you to move from one style of art to something else? I don't know whether this is something that I am conscious of . . . it has been a gradual process. For my work in oil painting to progress from hyper - realism to abstraction too k 25 years. A change in style can also be determined by the medium used. The winter scene pastel which was recently featured on the cover of Our Life is very naturalistic, because I rendered it from nature and because that is my technique using pastels. W hat made you move from hyperrealism to abstract? As I said before, it was a gradual process. I started out depicting one very "realistic" image. Very soon I was combining two or three images. Then I started making collage - like paintings full of fragmented image parts. All along I was still deliberately retaining recognizable parts of images, Later I decided to concentrate on the fragmentation to see if a fragment could stand on its own. So I isolated the fragment to study it and see if it could tell a story . This resulted in what could be perceived as a more "abstract" image. How difficult was the transition? Moving from hyperrealism to abstraction was a natural progres - sion for me. My biggest transition happened in 2006 when I decided that I wanted to see w hat e xisted beyond the deliberate constraints of the rectangular or square canvas. It was a very creative period and I painted five large scale shaped canvases in one year. This series of paintings became "The Capriccios". [ Capriccio in the musical sense c an be defined as an instrumental piece in free form style. As one reviewer noted, “In her Capriccio series Sochynsky explores pushing the confines of the paintings’ edges to explore three dimensional qualities as if the shapes were about to explode from t heir boundaries.”] "Fetish in Black & White," 2008. Oil on canvas, 20" x 20 . " How do you decide what to do when someone commissions a specific artwork and already knows what is desired . . . how difficult is it to produce "art on demand " ? My approac h to a commissioned artwork is to discuss with clients what their needs are and then to do research. For example, the requested theme for the 46 by 22 foot mural commission in Atlantic City was to celebrate the Italian community in Ducktown. In doing the research I discovered that tuna fishing on the pier was the predominant employment of the Italian men in the early 1900s. I decided to depict the pier from a dramatic angle with many fish underneath a huge hook, surrounded by golden nets. I put a pos itive Видання C оюзу Українок A мерики - перевидано в електронному форматі в 2012 році . A рхів C У A - Ню Йорк , Н . Й . C Ш A.
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