UNCORKED
Something huge is happening: tension is building up, bubbles are rising – a fitting metaphor for Albina Rolsing’s artistic sense of the atmosphere she wants to express in her series Uncorked. The rising bubbles are like the spirit that wants to go up, only to suddenly flow outwards after a period of calmness. In the artworks of the series the artist shows her impulsive talent. It can be moody, like the outburst of an impatient pupil, and so sensual that any attempt to capture the fleeting mind fails.
Calmness, contemplation and concentration are followed by inspiration, suddenness and coincidence. Albina switches back and forth between these states while creating her artworks. As an abstract artist, she does not follow any guidelines that are found in the figurative art. She absorbs various topics, sensations, experiences and interpretations and fills herself with them like a vessel until the moment when everything is coming out to be expressed through her artworks.
This is followed by another moment of quietness. While the paints dry, she examines the result. Is the vibrancy and luminosity of paints correct? How well do they bond with each other? Where should they stand confidently for themselves? The conditions are demanding, as watercolors and gouache allow no mistake, as in comparison to acrylic or oil. You cannot repaint them over. Her approach is not synonymous with chaos and savagery. The works are created in the constant alternation between balancing and daring to jump over the edge.
“I’m loving to explore my capability at transforming known things into something new and use colours to express thoughts and emotions .“
AR
Most of the viewers try to recognize specific figures even in the most abstract patterns. At least there has to be a reference to some “known object”, they think. In a subtle way Albina’s works allow and evoke these fantasies. However, the artist herself, does not need the reference to the realistic, figurative world. At the beginning of her artistic career, she even renounced titles at all. In the meantime she makes use of titles as a poetic completion. They can serve the viewers as a means of orientation, stimulate interpretations, create moods or suggest a message, but do not pretend or define anything restrictive at all.
– Oliver van Essenberg
