Questions: Elena Hlodec, A-Forest Gallery, New York, February 5-25, 2005
«Elena Hlodec mainly works in egg tempera. Tempera is a traditional painting technique inherited in Europe from a long time ago. Egg is used as a medium in tempera. First, white pigment is mixed with egg white. Then, with the hatching techniques the motif is made. On it, thin layers of various colors are layered. Contrast is done by hatching and then color is layered. This process is repeated many times. Only then, the beautiful work with depth which can only be obtained by the egg tempera is completed. Tempera technique is not only precise and delicate high skill, but also requires patient in obtaining the completeness. Her works which were completed with the full usage of the Tempera technique, has obtained high level finishing. However, her works of high interest is not only of completeness, but also seems to tell a story within each work. Within the work, it can be accepted as “someone” who is struggling with “something” while getting over sadness and suffering. The result in the end of this struggle will never be hopeless.
The Light of hope will be obtained, at least, we hope. This kind of story will provide strong energy to the whole work. Her works given birth by excellent techniques and original story line will give a strong shock to a viewer valuing the superior points in the Classic skill. Her poster in searching new art is firm, and not being drowned by the trend. “Someone” in the painting is herself who is searching the beauty, and it might be said that we as a society may be the one struggling for a hope of light.»
«Hlodec’s paintings are paintings, to paraphrase the Octavio Paz epigraph used in one of Juan Delgado’s poems, that open passages through other bodies. In «Sleeping Beauty», Hlodec shows the opening of passages as they occur in dreams and night-tiem desires. Bodies melt and reform into different non-corporal entities, frming the desires that cannot be spoken or acted out during the day.
The «Heart Beat» is an explosion of blood streaking across the canvas of the painting, as if a palpitation, caused by the repression of a body’s desire, had burst frth into physical space. In the wake of this crimson explosion, the shadow of the repressed desire forms in the background, even as the face of the corporeal body denies its existence.
Finally, «The Sword» is a compartimentalized world of closed passages, the antithesis of «Sleeping Beauty». Here, passages can only be pierced or slashed open, and the torture of these violent ruptures is written on the skin of the bodeis, on the contortive lips, and on the eyes that scream of pain»
in «Tertutlia Magazine», # 7, July 2004