Zura Kalanda creates his compositions on the canvas with deceptive ease. On closer inspection, they prove to be highly complex and ingenious. They spring forth from the active and artistic brain of the Georgian born artist, who has been living and working in Europe for some time.
Probably partly due to his cultural heritage, born in a country that of old has formed an area of transition between East and West, Kalanda has managed to accomplish a synthesis between cultures. His work is significant, because it bears the kind of artistic quality that should apply universally to all art, but is equally important because Kalanda builds bridges between cultural extremes located at short distances of each other in our society. Based on this, various art experts are also of the opinion that Kalanda is an artist who can contribute to the Dutch cultural climate; an artist who can play an important role in both the growth and development of the visual arts (art critic drs. C. Sicking; chair of the society of visual arts in Diessen drs. J. van Baar; chair of the society of visual arts in Amsterdam J. Loose; tutor at the Academy of Visual arts in The Hague and Tilburg H. Vlamings).
This highly talented artist is capable of fathoming the classic themes in an original way and expanding on them in his own artistic manner. Central themes in his work are: love, nature, man and the harmonious correspondence between all natural creations. These are ambitiously developed, resulting in oils with an energetic and dynamic character, beautifully styled and balanced. Some are idyllic and idealistic, often containing an intense desire for a better and just world, in which people and nations live together in peace and freedom. This extra dimension is reflected in both his paintings and his poetry. Also in various publications, some examples of these: “People long for freedom and happiness. That is the basis for a better world. Some changes have raised political, racial or economic barriers. That is why the inhabitants of this planet have lost their ability to smile. Art as a language of feelings is internationally recognized and apparent to everyone. Art is freedom and will surely be able to pull down the barricades raised” and “If art has a negative effect on the audience, then this art has no right to exist”. Quite justifiably, journalist M. Fahner called Kalanda a positivist at the time.
Together with two Dutch artists, he formed the art group “Contrast” at the end of the previous century. In the foreword to a promotional booklet for this group, he wrote: “During the last decennia of the 20th century, it became clear that in the new century the ever increasing tempo of technological innovations, with its unavoidable effects on mankind, individuals, communities and even nations, will give rise to a greater demand for contrast in ideas and modes of expression. Artist trio “Contrast” was formed to pinpoint the diversity in the art world in the many artistic stances and substantial differences that exist in forms of expression… And to prove that contrasts in personal ideas and modes of expression can be combined and integrated at a spiritual level. The artist trio wishes to experiment and discover the possibilities of harmony within the contrasts in every field and at every level of daily practice.”
This was later also confirmed by Ineke Dezentjé Hamming-Bluemink, Dutch member of parliament at the time and member of the parliament’s art committee, in which she underlined that everyone should be able to live in peace and freedom with one another, despite recognising that the new century would bring great contrasts.
Based on the aforementioned ideas and through the “Muza” foundation and the First Class Art Gallery, Kalanda is regularly involved in instigating international projects. He has also developed projects on his own, amongst others: “Breaking down Barriers”, “Looking for the Light”, “World of Beauty” etc.
With his work, he is not only capable of visualising the current, invisible and isolated emotions, but also of placing these within a larger and more universal context. And this in an entirely timeless dimension. The techniques that he employs are viewed by various Dutch art critics as “a great surprise of exceptional quality” (drs. J. van Baar) and “not widely used here” (drs. C. Sicking). “The works have a mysterious appearance” (art critic Tinie Visser) and “have an unusual, almost mystical character” (art critic Ester Davidson).
Working from the principal basis that colour and form are the only building blocks of a composition, the figurative creations spring from an abstract world through an impressively elegant play of lines: universal man, stripped of all his complexes. The unique colour composition of the individual layers of oils, the mutual interaction between the colours and form passages in the various layers show the viewer a truly rich spectacle of colour. Every square centimetre of the works form part of its composition and make an enriching contribution to the entirety; because of this, the works are harmoniously and wholly balanced. A distinct example of this is the impressive triptych entitled “Queen of the Sea”, as mentioned in the book “European Art Developments”. In most cases, the compositions are a mixture of philosophical thoughts projected on mankind, also interwoven with psychological aspects.
The works evoke the atmosphere of old cultures and provide magical enchantment, but at the same time have a contemporary appearance.
“Furthermore, Kalanda developed a unique way of painting, based on the results of the Rohrschach test. Strongly diluted oils are applied on paper in quick sessions. To this end, a clear lay-out (basic form and ideas) of the tableau is necessary, because the paint dries quickly and it is hard to change anything then. The created paintings are evidently abstract in character, but portray landscaped compositions in the finished product, in which the suggestion of space plays an intriguing role. The paintings also have a surrealistic trait, because the human figures, those resembling plants and animals and other recognisable elements present in the portrayal, but figure in a non-existent world of sharp colours and organic spots” (Drs. Piet Augustijn).
As a visual artist, Kalanda developed his very own style, which is difficult to attribute to an existing art movement. The works are poetic in nature: the colours are the sounds and the lines form the poem’s rhythm.
Artist Huub Tielen also wrote about this: “The first impression that his work made on me was an impression of poetry. Poetry balancing on the edge of interior and exterior, on the edge of day and night, as some dream images do. Symbolist, mythical, philosophical and poetical motives make his work greatly stratified.”
Kalanda’s artistic world is a world of peace and art. Quite often his works evoke intense emotions. He is capable of bringing things close to home, to every human being and thereby touching on those warm vibrations that arise from pure emotions; he is capable of making art function as the messenger of an enriched spiritual life. Art functions as a mirror to the soul, connects and binds people, gives them something communal in which to recognise and find one another again. Zura Kalanda’s works are a beautiful example and a perfect medium, which give one intense enjoyment, both now and in the future.