Warsaw, Prague, Berlin, Moscow… Languages are different but emotions are equal. When you read viewers’ comments on Elena’s paintings from different countries, you understand that different nations have not so many differences and we all appreciate the beauty of nature and the sincerity of the art in the same way. Art historians may see in her works delicate motifs of Japanese engravings, and the motley variegation of African bazaar, and polysemy of Chinese silk miniatures – and more than likely it is all so, but Elena’s outcome has something that we have never seen before, that is to say, something distinctive. And above all, her pictures are able to “humanize” any interior and touch any soul, even the most pragmatic one.
Elena is thumbing through her treasures – a rich “palette” of feathers – and becomes happy like a child when she draws some absolutely rare feather. For her this is both a means that will make her next work unique, and masterwork created by the Nature. Where on earth she takes all this luxury belonging to pheasants, magpies, cranes, parrots, owls, etc. from is another (and rather complicated) story, but when did artists have simple life? Another matter is more important – to create something pretty you have to see this prettiness where common people see common things. Elena never paints feathers other colours than nature has already painted them, but every colour blend in her works is diverse, harmonious and affluent. And this is already the artistry.
It’s quite clear why birds are one of her favourite themes. There isn’t any excessive “brushwork” in her paintings, each feather finds its own place. But for Elena feathers are just such peculiar paints, that is why there are landscapes, cave paintings, flowers, etc. among her works. In general, there’s no limit to her creative boldness, but everything is very poignant, tender, and light.