This exhibition is a big surprise for me personally. Not because I do not know Ekaterina Abramova`s art. I opened her exhibitions in the German Cultural Center in Moscow, other exhibition halls. But today we see one more step in her art. Here, on these walls, you see already a palette much brighter, open, than we have seen in her works before. Today is an absolutely new stage in her art, and we ascertain it with a huge piety. As the artist should grow! There are artists, especially in the United States which use the same art code throughout all life, being proud of themselves. We are proud absolutely of another. Innovation exists among artists of our trade union, people certainly talented, having both the style and handwriting. And Ekaterina Abramova has chosen her own way! She has decided to connect Ancient India, with its huge culture, its pantheon of gods, and Russian tradition. It is new to us. It is a surprise.
Somebody can ask: what about Nikolay Roerich who has done it more than 100 years ago? I would say that Nikolay Roerich has never connected Russian iconography with motives especially Indian. Here we see even the genre scenes connected with the Indian culture. And the entablature and a fringing of any of these works presented in the basic series of an exhibition, besides, have subtitles. This "Annunciation", let us assume, as it would see the person, looking a sight of the Hindu, equipped with Hinduism’s experience. Here again this is a courageous experiment. But it is spiritual inherently! It happens not because Roerich has laid a long time ago these ways. Not because Elena Blavatskaya in her works has opened to us horizons of absolutely tremendous, invisible and mysterious India. And here deep, esoterical Indian emblems and symbols suddenly get Russian sounding. We will admit, very few people know what is the lingam. It’s a symbol of an origin of Ancient India. It is presented here in symbolical and tragic style. For instance, picture entitled "Time" is a pure symbolism. But, besides, going from depths of east culture. When we look at the basic works of an exposition, from the very beginning, our sight starts to "stumble" over religious Christian canons suddenly penetrate into the Indian subjects. It very much inspires, because here we see, on the one hand, family and private life of India, and on the other hand – spiritual height. It is always lifted aesthetically to height of the spiritual flight. For example, on a shoulder of a female image, the Indian woman, appears an orthodox angel who has been "written off" from the icon of the times of Rublyov, Dionisy, Feofan Grek (Theophanos The Greek).
Such a brave method speaks brighter than any declarations uniting different cultures. To my mind, some critics will object against it. But as for me, Katya’s style impresses me, because we live in the information field which unites the worlds and the worlds, psychology and the psychology, absolutely different visions of the world. I assure you when you will see any descendants of rabbis or Hindus, with its deepest eyes in which you look how in a mirror which show even something that is similar to works of art, you will see all this culture already in the opinion of the Hindu belonging, the truth, to the higher caste. It is preserved in India up to these days. If the person is deep spiritually, he is genetically accompanied by the Millennium of his ancestors, each of which had a spiritual experience, unique and connected with the nature.
Here, in Ekaterina Abramova`s works, you see India, embodied in concrete persons and faces and connected with Russian understanding of spirituality. Each of us imagines an angel, even an Indian angel, in our own way. It is brought up out of our hearts. Our attitude towards India will be the same, if we arrive there. We’ll understand India through a prism of our Russian life experience. Ekaterina Abramova has reflected this approach today in this exhibition. And it is exclusively valuable and not only as the bridge between the Indian and Russian cultures, but also as a certain symbolical pass. Symbols of subconscious impulses she has embodied in real, concrete and well done pictures. This exhibition is thematically wide: here we have both still-lives and landscapes. She has given different cuts of her creativity, insinuatingly, part by part. Here we see also her earlier works: a pure landscape, a pure still-life. They are also presented, because the artist should show his way retrospectively, as well, and sometimes he must come back. But, much to my regret, I don’t see here works which have glorified the artist before. These are surprising female faces, femininity itself. But I understand the artist very well. They are not presented here for the reason that we have a certain subject at this exhibition, Russian India. Nevertheless, it’s a great pity, because in those works our artist depicted the perfect woman`s grace. The same grace sleeps in those pictures where Ekaterina shows us her thoughts about the Indian pantheon of gods, Indian understanding of beauty, maybe, too colorful for our Russian sight. She embodies this elegance, transferring it from the initial period of her creativity to the new works. I congratulate you with a beauty you can see today, and I consider this exhibition to be one of the brightest events not only in Moscow arts, but in Russian culture for today, May, 2011, as well.