One general observation that can be glimpsed from this wealth of
information is that it's hard to live with talent. It chooses to
make itself known in the most unexpected ways. A painter, for example,
might see many more colors than a regular person - and this increased
workload pushes the painter's brain to work at higher capacity.
To see the elasticity of movement is to understand the soul laid
bare; to glimpse one's true intentions; to touch another's mystery.
But is that a good thing? Who knows?
It takes courage to depict things once seen. And courage is usually
forged during situations that create conditions for creative expression.
And that's exactly what happened to Galina Tsynman as she lay virtually
incapacitated by a severe injury.
She'd always loved to draw, for as long as she could remember. Perhaps
unsurprisingly, she'd never given her sketches a second thought.
Her job provided her with plenty of pencils and ink dipping pens;
and she'd doodled playfully, creating what one would call comics:
about her co-workers; about daily life. Made up or based on memories,
she would record the images in her head without bothering to think
how she had done it.
She could whip up a cute birthday card drawing in no time at all.
It was fun and easy. She never gave a second thought to the fact
that so many people spent years learning, often without success,
what came so naturally to her.
Had she decided at some point in her life to take up art professionally,
Galina would have likely built a pretty solid reputation. But it
never even occurred to her.
But now, she faced a tragedy: her body had betrayed her, with nothing
but her arms and fevered, troubled mind remaining in her control.
As terrible as it may sound, this is just the kind of push that
can trigger a wave of creativity and force one to take inventory
of one's gifts and destiny.
Galina's ink and pencil drawing on small sheets of paper are expressions
of surrealism in the purest sense - the way André Breton
defined it in his Manifesto. She managed to construct snatches of
dreams and vistas of her subconscious into a cohesive picture, and
capture it on paper without conceptually domesticating it to make
the image more accessible. The resolve to leave the sketches as
they are, embrace their strangeness, speaks to a kind of parallel
inner life that unfolds in the subconscious - a life full of symbolic
imagery, with its own specific plot and cast of characters. Many
people are astonished to discover something of this kind within
them - but only a true artist has the guts to put this vision before
These works lay the artist's inner world bare before the eyes of
strangers. It can be frightening - but it shows us how deep run
the waters of human subconscious, and how differently we see the
world. And the more honest an artist can be in this process, the
more respect he or she deserves.
The phantasmagoric world of visions seems to have completely taken
over Galina's art of this period. Her sketches created during this
time flow into each other; their lines and subjects intertwine.
The curve of one figurative detail would sometimes give life to
a whole new story. Carried away by the subject, the drawing's dramatic
finale would, in turn, often end in an intricate face, like an exclamation
point at the end of an exciting story.
The graphic skill comes very easy to Galina. She seems to absorb
techniques from the air around her: more evidence of her natural
talent, which stems from her personality. Even the mechanical act
of drawing brings her pleasure. But don't try to tell her about
the technical competence of her works.
Because talent isn't a professional skill: it's an entity in and
of itself. How long this entity is destined to exist, we cannot
know; for most of those who have it, it lasts them all their lives.
That is why creative people have a tradition of testing its durability
and treating its source callously. Generous talent makes generous
people who don't tremble in fear over every job they might lose.
Galina gives her sketches away without batting an eye. And people
take them. People scrutinize them. They are not bound by time: they
are projections of consciousness as it once assessed the situation.
Each work is, as they say, one of a kind; just like a play that
can never be performed in quite the same way twice.
Through her works, Galina tries, perhaps unconsciously, to solve
complex problems of interaction between time and space by distorting
figurative imagery. Her drawings indicate that these parameters
are threaded onto a flexible vector that seamlessly connects all
her works into a single stream. But she doesn't worry about theory.
She follows the call of her natural talent, which elevates the realities
of our life and cultivates goodness.