About paintings of Elizabeth Yaskovets (Lizii Chan).
Fantasy, freely painted dark background, reminiscent of a theatrical scenery, prevails in the new series of works by Lizii Chan. Its hallucinatory potential sends the erudite connoisseur of painting back to the early avant-gardists, while maintaining focus while peering into its inherent opacity, the breathing background decisively wins the competition for the main prize - the volume and depth of space of the world of masks. Semantic revelation - genuine inner freedom of the artist, challenging the classical canons. Progressing in thinking through color sequences, Lizii Chan retains the already recognizable naive style: stereometric primitives, contours, the frequent absence of chiaroscuro and color gradations.
At the visible top of the “message” is the eternally retrospective avant-garde, which, upon closer examination, turns out to be expressionism-cubism-surrealism (underline as necessary) at least fundamentally - the subjective emotional component and semi-conscious impulses conveyed to the viewer are located here at the forefront. Another clear sign of belonging to the aforementioned areas, which is also the leitmotif of the entire series, is the war that is destructive for the existential narrative - russia's military aggression in Ukraine, which is taking place today. The range of negative connotations corresponds to the scale and nature of the events described, in the plot outline there are images of ancient Scythian stone women - ritual amulets, the images of which are easily read in the body of the main formula, in the summing, sewn-in code of the series. Lizii Chan knows what fate has prepared for the heroes and what awaits the ideas reflected on her canvases - this is a measured, consistent narration by an experienced storyteller who has no doubts about the veracity of his stories, because he came straight from them. Speed, energy, a sense of movement, the share of absurdity is also in the plot.
In the absence of the usual "descriptive geometry", the works are perceived quite "suprematist" - at the cost of the dominant superiority of color over all other properties. The dimensions of the world of masks are non-objective, the language here is not verbal and is not even recognized by the usual algorithms of consciousness, appearing as if in a coded form only in abstraction, in the field of peripheral comprehension. However, what is clearly felt that confirms the effective work of the data transfer protocols used by the artist is the creative hunger screaming from the canvases: research into the original nature of reality, the world and being as such, up to the question of why these questions even exist.