Portrait N3, 2019, 30x20 cm, oil canvas
The lady in Turban N1, 2018, 28x35 cm, oil canvas
Fragments of the Lupines, oil, canvas, 2018
Ink abstract calligraphy
Using the plants as brushes for ink painting, I can search for the new proportions, besides the classical brush works of the dry/wet, hard/soft touch and shades of the sumi ink, focusing only on the line/spot balancing and the plant proportions pattern.
Temple, 2016, 120x85 cm, Ink, paper
Chrysanthemums, 2016, 120x85 cm, Ink, paper
Symphony, 2016, 120x85 cm, Ink, paper
Orion, 2016, 120x85 cm, Ink, paper
Oriental, 2016, 120x85 cm, Ink, paper
About plants "language of proportions"
For 15 years Polya was working as a designer, watercolour and vector graphic illustrator. She was later creating a vector imitations of watercolour. But both of the styles, classical watercolour and vector paintings, were still way too anthropocentric.
Work with ink and real paper enables another level of “brush flow”. Plants and flowers can be used not only as inspiration for jewellery and paintings, which is typical for asian ink painting and old poetry, but also can be used as brushes. Plants have a longer evolution on earth than humans. Asian artists choose plants as an inspiration in understanding human nature. This graphical language of plants can give us a graphical transfer of “rules of nature” into the artwork.
Plants as brushes impart “rules of nature” into work, when digital and classical brushes take so much energy to go out of your own standards of proportions as human being. But plants as brushes are soft enough to have more freedom to let ink go. It is a play of the balance between chaos and order, using a traditional ink technique to equilibrate spots and lines. And it is also a process of learning from plants.