Page 23 - World of Art magazine (2000)

Ligia Podorean ekström sweden

palazzo correr /art addiction Venice italy. 1999 The 2nd 1998 Galleri astrån, Stockholm. 1999 Galleri Svarta Sweden; university of Stockholm - Town planning, Sweden.
autumn annual in Venice, int’l art exhibition palazzo correr Sofan, Stockholm. 1998-2000 internet art Museum: Summer university Vasa Finland. Kulturhuset and various
/art addiction Venice italy. www.artaddiction.se 2000 Greek culture center Stockholm cultural associations in Sweden.
inDiviDuAL exhibiTiOns 1964-76 Six individual water- Sweden; 2000 art Museum Brasov Romania. inTeRnATiOnAL cOnGResses 1983 Vienna austria.
color exhibitions in Bucharest Romania. 1977 Malmö, cOLLecTiOns The National Museum of Ribe and Vibork, 1984 Toronto canada. 1985 Milano, padova, Modena, italy.
Stockholm and Östersund, Sweden. 1977 Ribe art Museum Denmark; The National museum of Brasov Romania; 1991 constanta Romania. 1992 Sibiu Romania. 1993 iasi,
Århus, Silkeborg and abenra Denmark. 1981 Sibiu and Department of culture in Sibiu and Bucharest, Romania; american-Romanian congres.
Brasov, Romania. Stockholm Sweden. Århus Denmark. Department of culture in Bucharest Romania; private, AWARDs 1970 The annual fine art award of the architects
1988-89 The Museum of Stundars Finland. 1991 The national and corporate collections round the world: Roma- union of Romania. 1989 award for town planning architec-
National art Museum of Brasov Romania. 1993 Geneva nia, Sweden, Denmark, Finland, Switzerland, Germany, ture project Strängnäs Sweden. 1994 award the Honorary
Switzerland. 1995 Guest exhibition at the foreign Ministry austria, France, Spain, italy, canada and uSa. Mention at the 1 st int’l Female artist’s art exhibition, art
in Bucharest Romania. 1996 Greek culture center in GuesT LecTuReR in ROmAniAn AncienT cuLTuRe addiction Sweden. 1998 award the certificate of Merit at
Stockholm. 1997 Gallerie de la Fontenette, Geneva AnD ARchiTecTuRe architecture Museum, Stockholm the “Masks in Venice” italy. 1999 award the 1 st Diploma of
Switzerland.1998 Galleri panorama art, Stockholm. Sweden. architecture School Stockholm, Goteborg, Åirhus, Merit at the Spring annual in Venice italy.

She discovers and sees in nature only what she paint. She therefore paints swiftly, as swiftly as decorous. The waves of the sea, the sky with its
is interested in and what she feels drawn to. At possible, spontaneously and sincerely, in order fleeting clouds, the sunrays playing amidst the
the same time she is inclined towards synthesis, to render the evanescent impression, the effect foliage, the rain, mist, snow with its glitter and
rejecting a too insistent analysis (synthesis belongs which transient light leaves on the landscape. In glimmer, the cottages of the countryside, the
to art whereas analysis belongs to science). She this lies the beauty of her art. She achieves an exact bridges of the towns, the different novel scenes
applies those artistic laws of necessary relations image of the luminous nature, genuinely, sincerely, of nature, the woods, flowers, etc., have been
between objects and color and, like Diderot, spontaneously and truly. discovered by the artist and displayed to the public
thinks that the idea of beauty is the perception of Her painting identifies itself with the act of in her exhibitions.
these relations. natural creation. The artist is lucid, critical and To her new way of visualizing the world Ligia
Her outlook is impressionistic and gives the has a scholarly, yet highly personal expression in Podorean-Ekström has also brought a new
aesthetic unity to her paintings which render “the her pictures. She is thoughtful without troubling technique, as is only to be expected. Firstly, she
impression” of the world such as it was felt directly the balance of the natural elements. Her pictures renders natural elements under the deforming
by the artist. What is important in her work is her are at the same time moral. Nature has become the action of light, and then gives up drawing, the
special vision, which the artist has formed about confident of the artist. The fragility of the snapshot, outline and that precision of forms that suggest
things and not about what she knows about them. the life out-of doors, the swift on-the-spot sketches volume at the same time. Neither does she pay
Andre Gide said in that respect in Les Nourritures are still at the beginning. much attention to perspective.
Terrestres, “Any act of knowledge which follows a The artist is closely linked to the scenery, to No longer observing the rules of geometry, she
sensation is useless.” what we might call the spirit of the place, to her tries to suggest depth and height by special half
Nothing excites more directly the reaction of personal aesthetics and less to the technique of tones, thus rendering space and volume. She is
a sensation than light and its various shades. the impressionists. Nature is the study of bright also concerned with tonality in her pictures, for
Although light had already been the concern of structures, a reason for emotions, exchanges, the degree of intensity of a hue (the quality of a
painters in other epochs, in contemporary art, sensations impressions and reactions, a manner of color) from dark to light becomes essential.
particularly since the impressionists, it has become expressing her sincerity artistically. Everything is Her force of suggesting and evoking, her
the fundamental element of painting, by being based on observations echoed in her consciousness, sensitivity, accuracy, sincerity and spontaneity;
sometimes turned into subject matter. thus creating the validity of these observations in are the distinctive qualities of the artist. it is thanks
In the northern scenery Ligia has discovered light her pictures, but not their pure identical copy. The to them that she succeeds in mowing us into a
and color according to her own manner. That light painter introduces dynamism, a feature of modern wonderful world of light, into a serene country set
and atmosphere have moved and prompted her to art, although her pictures still remain calm serene, in the picturesque landscape of the North.

TOLLeDO sTOckhOLm sTOckhOLm ii
1989 WATeRcOLOR 1991 WATeRcOLOR 1991 WATeRcOLOR
29 x 21 cm, 11½ x 8¼ in 21 x 15 cm, 8¼ x 6 in 21 x 15 cm, 8¼ x 6 in

Special iSSue 2000 WORLD of ART 21