"Where lilacs bloomed", 2013, oil on canvas, 70x80
"Paluodis II", oil on canvas, 110 x 100
"Paluodis I", oil on canvas, 110 x 100
"Beginning of May", 2016, oil on canvas, 110 x 100
Among the artists of her generation, who have started manifesting themselves in the artistic life already in the new century, Lena Khvichia reveals herself as a creative and undoubtedly gifted painter, interpreting in her own manner the Lithuanian coloristic painting tradition and the abstract painting aesthetics. Hardly anyone could reproach her of following any of her teachers or renowned authorities. She has discovered an adequate plastic expression best suiting her temperament and inner vision. Lena is an emotional artist; however her works are very constructive and well balanced in terms of the composition, which disciplines, restrains her hand’s movements and the broad strokes. Lena Khvichia’s paining is distinguished by the fact that her works, usually of the tranquil surface facture, never seem flat, they are seen as if having depth, third dimension, even though the paintings only vaguely imply the objects of the real world. It is important that even in her most abstract works the essential layer is felt to this or that extent; these are reflections of subconscious impressions and moods experienced by the author.
The coryphaei of our abstract painting, such as for instance maître Algirdas Petrulis, are referred to as the artists having a subtle colour hearing, they manage to hedonically gladden and please the spectators by the richness of the palette and its virtuoso playing. In this context Lena Khvichia may be said to have a sensitive space hearing, she hears the sound of the dim light of her illusion-like space, and this colour hearing obviously helps to obtain such a sound. It seems she has managed to achieve such an effect when an attentive spectator’s gaze does not just glide by the surface of a painting, but gets a deeper view, even hearing. Cold blue colours usually dominate in the paintings of Lena. The overflowing pictorial dimensions of different light-darkness gradations, the overlapping or contrasting pictorial planes, namely that cold part of the spectrum, visually create a blow of the space and an impression of the depth, and emotionally a whiff of a mystery, nostalgia and melancholy is felt. The light and colours do not exist in themselves; they are seen in the material environment although they might be misty or dusty. I don’t know whether the painter consciously delves into the relationship between the light and the space problems on the abstract painting surface vaguely reflecting the material world, or whether she arrives to it purely intuitively, however in this respect Lena Khvichia’s works are original and exclusive.