Gabriela Medvedova

Often there is a small nuance between what has been made with feeling and what has been inferred. Ever since I have known Gabriela Medvedova, since 1989, she has convinced me through her creations, of her inner emotional and sensitive motivation inherent in all her works. I always sense and perceive her respect for the basic "law" of art in life and of life in art, It can be formulated like this: Is there more life in art, or potential artificiality (pictorial, musical; poetical ...) in life itself?
In contrast to the fashionable and "profitable" pose, Gabriela Medvedova gives preferences to what is advantageous and useful in a long-term sense. It is because of this misused whole of the latest stage of her creation, that she seems to have disquised - symbolically and literally materially - her natural, expressively lyrical position. In such a way she treats the entirety of life which drifts from anywhere like a ghost. To this she also subordinates her artistic language. With her creation she does not bewitch reality but contents herself with the natural flow of life and art. Such an attitude on life and art is precious in the context of artistic overproduction. She is aware of the fact that to create a great work is as fastidious as to bring about social change. Therefore, in her apparent asceticism, she enables an insight and view into life enlightened by a divine spark. Her numerous recent pictures are not only transparent but also meant to be looked at from both sides.

In the same way as she used to actually bend the corners of her pictures - symbolical corners and angles of life -to make them visible, her present works are not only concerned "about" polarities (East, West, spiritual, material) but are a polarity in themselves. The bright and shady sides of life are incorporated into her paper artefacts. At the same time, they are biographies, effigies of her face. With them she wants to call to mind a wider cultural and social biography, It is an expression of the battle between the timid and the vigorous, Therefore the energetic aggression of manuscript and of life has been covered by a cloak, a veil of roughened paper. By this she also wants to emphasise the accidental aspect which is important at the reciprocal change of energies between the spiritual (symbolised by a circle) and the material (symbolised by a square), as well as the medial transitions between these forces.
In many respects, Gabriela Medvedova, herself carries out the function of mediator, of a go-between in a cultural, geographic and, perhaps, in a somewhat telepathic sense.