29.02.-01.04.2007 Vanemuise Publikugaleriis ja
2.10.-19.11.2007 Eesti Rahvusooperi Publikugaleriis


/…/ The abstract and the specific

Music and dance versus thinking and pictorial reality. The openness of the dancers touches the soul deeply: the expression exposes man’s more intimate side. Protsin believes that this theme will be sufficient for her entire life. A photographer observes and records, a painter recreates an impression. The experience evokes the colours and the poses sharpened by differently placed emphasis.

Different art forms come to life together, a new paradigm is born. Delicate ballet has been discarded over the futuristic-dadaist tension and subdivision of tempo. Hence the disharmony of colour, an attempt to overcome the strive for perfection, balance and good taste, which has disturbed many painters of the Pallas school in realising the ideas of the avant garde.

The artist purposely abstains from over-processing the painted surfaces, leaving parts of the picture “empty”. These are like pauses filled with the music of stillness. At the same time, a head or bust receives detailed attention (Dance III, XI, XIII, XV).

Special attention should be dedicated to pictures where the composition is determined by the hands or hand movements (Dance III, V; Turning III, Embrace). The painting style is in the spirit of spontaneity and inspiration, but reason remains in control of everything.

The prerequisite for the productivity of such an approach is sincerity. The beauty of Protsin’s female figures can be distinguished with the words “mannerism-theatricality-glamour”. A platform that significantly expands the interpretation of the paintings.

/…/ Precision of sensation

Protsin’s occasional utmost accuracy in depicting the body actually constitutes precision of sensation. The playful sensuality, the counterinfluence of symbols and allusions may be surprising.

L. Parhomenko, art critic