Dr Natalia Jezova communicates through a wide variety of media, including photography, film and installation. Her art, which has been exhibited internationally, addresses cultural memory, identity and gender issues.
Dr Natalia Jezova is an award-wining, multidisciplinary artist. She achieved her Professional Doctorate in Fine Art at the University of East London in 2021.
Natalia's work is never quite what it first appears to be. Her images depict meticulously controlled compositions characterised by a classical aesthetic, tinged with poetic undertones of timeless desire and romance. Natalia's work creates immersive narrative scenarios that blur the lines between imagination, reality and memory.
Natalia is sight impaired and she sees everything with a double vision effect. This was one of the reasons why she started to use the superimposition technique (in which two images are simultaneously visible over each other) in her art practice. The layering of images on top of each other creates a new meaning and makes an impression on an almost subliminal level.
Natalia particularly admires Old Master paintings. She is fascinated by their unsurpassed technical qualities, their mysterious representation of dramatic light and their masterful use of composition. However, she appreciates not only their technical skill but also their incredible ability to convey to a viewer the subtext of the picture hidden behind the symbolic meanings of colours and details. After all, many Renaissance masterpieces, with their unique placement of objects and use of distinctive colour palettes, are coded ‘books’ filled with secrets and hints.
You just need to know the ciphers for these codes to understand what their author wanted to convey. She mixes classical and modern aspects and her artworks are multi-layered, containing their own little secrets that viewers are invited to discover. As Natalia says: “What could be more enchanting than a mystery? I suppose, only the love for the mystery and the quest which one embarks on in trying to solve it.”
This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist