Jaana and Orest Kormaðov belong with their \"roots\" to the family of artists. Orest\'s father, Nikolai Kormaðov, has been one of the most remarkable painter of the classical painting, his mother Luule is a well-known ceramics artist. Orest\'s brother Andrei is a famous graphic artist. Still the \"young\" Kormaðovs have been able to develop a style of creation that is only characteristic to them that they demonstrate now together.

Jaana and Orest Kormaðov belong with their \"roots\" to the family of artists. Orest\'s father, Nikolai Kormaðov, has been one of the most remarkable painter of the classical painting, his mother Luule is a well-known ceramics artist. Orest\'s brother Andrei is a famous graphic artist. Still the \"young\" Kormaðovs have been able to develop a style of creation that is only characteristic to them that they demonstrate now together.

Orest Kormaðov (1964) graduated from the Estonian State Art Institute in the year 1990 and has after that been working as a painting lecturer in the Tallinn Pedagogical University. He started to participate at exhibitions already in mid-1980s and his paintings have been exposed in addition to Estonia also in Finland, Russia and Germany. Orest\'s paintings are characterised by especially strong handling of colours and depiction of abandoned landscapes and situations. Because of the strong colours he has also been called the Estonian Matisse. Orest usually presents colours on relatively large surfaces, setting together strong, sometimes even antagonistic shades that at the first sight even seem not to be matching each other. His works are not characterised in the first run by the technical \"purity\" or detailed richness of nuances, but rather by uncompromised forcefulness and certain harsh poetry. His paintings are like novellettes: with few characters, certain and concrete lines of the plot and unexpected turns of events. Kormaðov is interested in depicting of at first sight unpoetic situations so that the object receives new meanings and stresseds are such charming moments, of the existence of which even the object itself was unaware of. So an electric post with cut wires is placed to the foreground of the painting and so are broken all afflicting rules that are required from a painting.

Jaana Kormaðov exposes at the exhibition vessels, having been made during the last years. Kormaðov\'s ceramics strikes the eye with joining of  decorativeness and symbolism. She stylises on her vessels mystical and timeless signs that leave the impression of being guardian spirits. We see somewhat familiar symbols that still are free from copying of the past and which become independent units, being free from the past. Modern ethnology - so could these vessels be called. Aim of the author is also not achieving of a perfectly pure form, expressing of delicate nuances of ceramic techniques, but one should not doubt in the complete command of the beforementioned. Kormaðov has had a free-handed approach towards her work and the result can be called \"tasteful robustness\", half-burnt edges and holes in places, where industrial design would never allow them to occur. This is handicraft in its most original meaning.