Unterschiedlicher könnte das Schaffenswerk nicht sein, die Bilder von Tatiana Burghenn-Arsénie. Gibt sich die Künstlerin einmal völlig losgelösten organischen Farbkompositionen hin, ist es ein anderes Mal die akkurate Wiedergabe von Architektur. Bemerkenswert auch die Hinterglasmalerei, die religiöse Motive aufgreift.
Das Kunstportal heißt Tatiana Burghenn-Arsénie willkommen.
I had the pleasure to admire Tatiana’s artwork and to fell under its spell at first glance.
There is something airy yet precise in her drawings, a musings of contours which renders shapes both precise and dreamy with one sweep of a line.
Echoes of early Italian masters – Simone Martini, Giotto, Piero della Francesca – infuse her paintings and drawings with luminescence and with the discipline of an exact stroke, in a tightly wound narrative.
But then the classical vein is taken over by a subtle irony and a listless playfulness. Take a look at the cathedral and the corner street rendered above. The classical majesty begins to subtly erode at the edges, frayed with a „je-ne-sais-quoi „of romantic and mysterious verve and moving towards a pensive mood.
If I were to find a literary equivalence for Tatiana’s paintings it would be Stendhal’s prose in „Le Rouge et le Noir“.
Continuously surprising, irresistibly witty and utterly complex and modern.
Such is the gift of a visual artist like Tatiana, who can make us think with delight of and beyond the visual arts.