Artists Statement

Curriculum Vitae


Oil Painting

Shaped Canvases





Abstract Intrigue
Noyes Museum, Oceanville, NJ

Sochynsky paintings 
reviewed favorably

Zorya Fine Art



Abstract Intrigue
Noyes Museum, Oceanville, NJ
October 14- November 30, 2008

Abstract Intrigue celebrates the work of Sochynsky spanning more than 20 years. The exhibition comprises more than 26 works of oil paintings on canvas in varying levels of abstraction. To abstract is to generalize, giving the viewer an opportunity for his or her own interpretation. In her work Sochynsky displays her clear love of composition, design and balance, creating abstract illusions where images offer brief glimpses of reality.



The dream-like quality of surrealism combined with the raw language of color moves the viewer across the canvas in Ilona Sochynsky’s finely crafted abstract paintings. Rendered primarily in oils, she combines intense colors in striking shapes which, above all, suggest visual movement. A strong compositional tension creates the sense of push and pull where images dance, collide, overshadow and float. One thinks of a kaleidoscope with bright shards and shapes spinning and falling into place, creating a magical design.

Sochynsky’s work reflects her strong classical art training, technical mastery and design background. Her work shares many common themes and concerns that emerged in the 1970s, the Photo-Realist movement and the paintings of James Rosenquist. In her earlier work, Sochynsky used photography and collage as source materials from which to experiment. She painted photo-realistic images and densely packed compositions filled with intense bursts of color juxtaposed with dark ominous shapes.

In her search to expand her earlier hyper-realistic work the artist pushed forward toward more free design where color, pattern, and composition become dominant characters. Realism moved increasingly toward abstraction and the mysteriousness of floating forms and overlapping planes took shape as in The Scream, an eerie, surrealistic reference to the Edvard Munch painting from 1893.

Moving to abstraction by unraveling and deconstructing, Ilona Sochynsky reconstructs images by combining them into one surface in a kind of collage. Recognizable glimpses, human or otherwise, captivate the viewer to reveal something familiar, yet still unknown. Her current work pushes the boundaries of the canvas in an exploration of spatial and sculptural possibilities.

Sochynsky’s Fragments are a series of interrelated paintings at once non-representational and oddly familiar. By their magnification they are obscured into abstract forms. While momentarily recognizable images of the real world they are still mysteriously uncertain. In reference to her creative process of fragmentation the artist says, "I am currently engaged in studying the singular aspect of what is left over after deconstruction. Can some sense be made of a fragment? Can it permutate into something that has meaning for me? I hope the viewer will be sensitive to the personal imagery which emerges."

In her Capriccio series, two of which are presented here, Sochynsky explores pushing the confines of the paintings’ edges to explore three dimensional qualities as if the shapes were about to explode from their boundaries. Capriccio in the musical sense can be defined as an instrumental piece in free form style. Sochynsky decidedly moved away from the confines of a rectangular canvas, by adding a third dimension and altering the shape of the canvas. The contours of the fragments within the composition dictate the outer borders.

Four intensely colored paintings titled India Ink are inspired by the poem of the same name by Ludmyla Taran, 1994. This series of 12” x 12” interrelated paintings give visual form to emotion or sensation. Ilona explains, “In interpreting this poem my art explores the struggle of the unconscious bubbles of the psyche as it strives to the surface, seeking to liberate itself from the constraints of convention and social norms. A recurring theme is the stark netting, symbolizing behavioral boundaries that filter the raw emotions represented by colors such as the vibrant red in "Passion" and the pale blue in "Grief". The webbing echoes the belovedly black "spot of the India Ink" in the poem that inspired the emotional journey embarked upon in these works.” In the Fetish series, also 20” x 20”, the interpretation shifts to the erotic. These recent works depict the undulating folds of luxurious fabric, overlaid with netting suggesting a casually discarded fishnet stocking. The delicately rendered repetition of line and recurring patterning of the webbing references a scenario left for the viewer to interpret.

Sochynky’s new direction is still evolving as her new work explores altering levels of focus. Exploring the mystery of obscuring reality and playing with spatial illusion Ilona Sochynsky forges new boundaries yet to be defined.




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