Tatjana Krizmanic is widely known for brilliant pastel drawings and oil paintings that depict ordinary life with a distinctly European sensibility. Surreal and inventive, her figurative work recalls Chagall, Matisse, Klimt, Picasso - influences she grew up with. Since her first exhibit in Boulder, Colorado, in 1999, she has built a strong following, and her paintings reside in numerous private collections and museums.
In recent years, Krizmanic set out on a bold departure from the illustrative and representative into abstraction. Large fields of color woven together by fine, flowing lines across a range of tonalities, from saturated to ashen, may at first surprise those accustomed to her style. But there is a logic at work here, as Krizmanic plumbs the depths of inner, emotional resources in search of different forms through which to express her felt responses to the world. In order to declare a more raw artistic statement, Krizmanic in this work is building a unique vocabulary of form, stroke, density and fluidity, and relationship between objects. The paintings are nascent and exploratory. They capture an artist in the process of evolution.
The body of work shown here specifically draws on Krizmanic’s home environement, the vast open landscapes of the southern Colorado as well as the artist’s many years of Tibetan Buddhist meditation practice. In the work one may perceive a landscape or sense inner turbulence, but much is left to interpretation. Yet one feels a clear voice emerging, and little is left unsaid.
Born in Zagreb, Croatia Tatjana started painting at age fourteen. After studying at the University of Zagreb, she moved to Washington, D.C. where she completed her studies at Georgetown University. Over the next ten years she created paintings for friends and patrons, while working as an art director. Her work is shown in galleries in United States, Canada, Europe and Japan. Krizmanic divides her time between her home on the Adriatic Coast of Croatia and Sangre de Cristo Mountains of Southern Colorado.
Photo by Bill Ellzey