After a five-year pause in exhibiting it is again possible to see in SEB Ühispank Gallery the newest paintings by Ivika Luisk. As also at the exhibition “Flora”, which was set up five years ago, the title is poetic and floral-scented. But this time we shall not be able to see only floral paintings – amidst blossoming trees and sprouting flowers there is slinking a gentle female figure, behind who is most probably hiding the artist herself. The exhibition can be regarded the author’s sequent re-appearance: the twenty-two new paintings symbolize clarification, recurring of balance and drawing of intermediate conclusions.

After a five-year pause in exhibiting it is again possible to see in SEB Ühispank Gallery the newest paintings by Ivika Luisk. As also at the exhibition “Flora”, which was set up five years ago, the title is poetic and floral-scented. But this time we shall not be able to see only floral paintings – amidst blossoming trees and sprouting flowers there is slinking a gentle female figure, behind who is most probably hiding the artist herself. The exhibition can be regarded the author’s sequent re-appearance: the twenty-two new paintings symbolize clarification, recurring of balance and drawing of intermediate conclusions.

 

The title and conception of the exhibition were named after a work with a similar title and as the result of a fruitful painting process dozens of works were born around it. About half of the exposed works have been executed in quite a small format that can be regarded a real challenge for an artist, who has studied and practiced monumental painting. How to find space for everything important on a minimal surface without the threat that the depicted objects turn into incomprehensible trumpery? Working with a small painting surface calls for the generalization ability and the skill to detach the important from the unimportant. In her paintings the artist does move towards the increased clarity, simplicity and clearer forms. But this does not mean that her works have become restrained in a minimalist manner or are coldly pondering. In the paintings by Luisk there is still sufficiently warmth, goodness and humanity.

 

The author herself calls her works in the first range paintings of state. Painting is for a working mother, staying at home with children, almost the only time when she can fully dedicate her time to herself. Maybe because of this reason one can often see a mystical female figure on her works. While painting, the artist can throw for a moment aside the everyday world surrounding her, but she does not cut off the contact with the surroundings. On the painting there are perpetuated her feelings, emotions, thoughts. Having a look at the paintings, it is afterwards possible to understand on the basis of the artist's choice of colours, motifs and the verve of her brush strikes her state of mind, prevailing at the moment of painting. The viewer is also given guiding hints by the emotionally charged titles of the works, as for example "Tänu” ("Gratitude”), "Üks pave korraga” ("One day at a time”), "Rahu” ("Peace”), etc.

 

On the paintings by Luisk there are repeating the already familiar motifs as a nest, tree, blossom, spring and field. All of these symbols or signs have a certain meaning and value in the artist's list of concepts. A nest of course symbolizes home, security and certainty. A field reminds us of the fertile soil inside ourselves that has to be constantly cultivated in order to stay alive. Ivika Luik does not let her personal internal field to become mordant. She dips the brush into paint as often as the busy times allow her to.