3. The expression, that we see in the paintings of Yona, passed through all stages, from personal experience, has evolved to its social commitment – the critique of the modern society. Then it is returning back to the personal, to her confession and whispering something to herself. She cannot any social changes. She cannot make men to live close to nature in the countryside. But, through the art of her paintings, to invoke with a scream imitating an injured bird, personally, every man to consider for himself what he would like to model from the life. The wishes dictated by noble feelings, without using grotesque thoughts and let the modern man not brandishes with social axes. This tool can only be present in her still life as a symbol of obsolete weapons used to survive.There is a need of respective new worldview for the present times… Contemporary avant-garde culture, combined with the earth, which the artist has left. Taken altogether they form a complete exposé, a plea, a calling to the viewer in the exhibition. ROOT is a screaming concept
and a calling for a social awakening, served in a package of curatorial thoughts and words, served with an exhibition.
4.So much said with words is confusing. Isn’t it? But Yona seeks a minimalism, to allow to present her idea as sparkling as possible. It takes an exact might to the said. This might can only be found the paintings of the masters. She convinces the viewer with laconic means. Expression, the colors, that are not very talkative, but restrained, combined into one earth harmony. The painter uses it in order to suggest the most powerful moments of life, what she wants to describe. Namely a masterful pictorial art can easily guide to these thoughts. The pictorial values are served by the gesture of the hand, brush and a choice of the color to influence straight. The concept of ROOT, although very intuitively suggested, but very heartfelt, is woven into the picturesque fabric of the linen. The color panels fully meet the original intention of the exhibition, it will evolve into an angry confession of the man-root. In recreating the picturesque excitement, the artist comes from the fact that at first sight, we see things with the lush colors of dreams. But this is only the beginning. With time all this desiccates... desiccates... desiccates... just like a still life. The colors are fresh till the fruit is recent. With days passed this reverie begins to fade, to rot and eventually remain in the soil, becomes dust, turning into nothing. This way the very rich palette is being combined and reaches the point when the coloration becomes an ash. All this richly dyed glory becomes a gray harmony in a range that Yona uses for her paintings. There are dramatic overtones in the context of the relationship between the gray-black, combined here and there with clear, bright colors. There by she suggests once again a wild expression of the earth and the rural life, against the backdrop of unspoiled nature that she has left. Like this, sublimely, immediately, Yona justifies the expressionism in her paintings. This stylistic technique is combined with the theme that discusses when opens nature, in the relation to the life that she used to live. Counterpoint is the turbulent energy of the modern times. The harmony is wanted in an almost impossible complex combination, with her contrasting past in the rural life. The energy of labor and colors of the fruits, of the sun and ... all this has been buried in time, once it has been hanged framed on the walls of the concrete urban environment.
She is being incinerated by the moments that she has experienced in the city. She thinks that her rural life was insolvent. This are the thoughts that are rushing through right after she asks herself how she will find a way to earn money today, with which to survive. The instruments of labor are no longer plow and hoe, but money. A labor for a living becomes indirect and independent from nature. For her it is a shock to lose a connection with the earth, as she goes to a store to buy food that she produced herself when being small, in the village with her own hands. Now, those hands are covered in red signal manicure and feet № 39, kneading the earth, are wrapped in pink patent leather heels. Nothing in her life is like before. Isn’t her personal stress a compressed in time illustration of the same problem that the modern society experiences? It is being urbanized, encapsulates the earth beneath it, shuts itself in high walls of the city built with engineering, nano precision and at the end dies while awaiting the apocalyptic battle with nature, among military barriers and building constructions, ready for the battle with nature....
With a continuance of a long curatorial essay you can get yourself acknowledged during the exhibition "ROOT".