What does the expert say?
This work by Charinda, in the Tingatinga style, differs from earlier works by the artist, primarily when one considers the composition. That being said, Charinda’s general artistic style is preserved. In the painting, we do not see horizontal frieze-narrative lines, but instead a division of the canvas into relatively vertical MENU, the central one of which is occupied by the image of a woman. Despite the fact that the woman is located in an ornamental environment created by the artist through the rhythmic alternation of birds and plants, what’s important here isn’t really the woman, but her thoughts. The artist underlines this with the depiction of the woman’s head, where the viewer sees yet another narrative. That is, we see a painting within a painting. It’s a very interesting approach. Revealing information through the “small painting” fully lines up with the author’s method in earlier works (locality of color, frieze-like imagery, absence of perspective). And there, in the main work, on a large scale, we see the author’s relatively picturesque drawing (multi-colored gradation) united with naive imagery. On the whole, it’s a harmonious work and fosters sympathetic emotions.
Olena Polovna-Vasilieva, artist, M.F.A., Associate Professor at Oles Honchar Dnipro National University, member of the National Union of Artists of Ukraine