Pictures of all times

Writing about Izzy de la Soyo's work is understanding the liveliness of modern substrates: in her art, as well as in the art, and accordingly in the civilisation itself.
During the last several years since Izzy started to exhibit on the Australian scene, she has made a salto mortale. Jumping from neoneanderthalism, she ended up straight in the middle of neopostmodernism.
In her new incarnation Izzy introduces herself as a painter, although her way of thinking stays graphic. Along with classic painting tools, she also uses matrix. Her acrils on canvas are based in eclecticism. Therefore, they are full of parallel and vertical layers from milleniums of artistic heritage. Her expression belongs to all times. It is based on the universal view, it neither begins nor ends.
Like the majority of modern artists, especially the ones who are faithful to the old traditions, Izzy looks to the past with interest. She enters the dialogue with its brightest moments, which become the base of her newest phase. Conserving the richness of citations, she puts them into complex relationships of baroque diversity.
Her space has many layers. Its sedimentation is accentuated with full colors, white and black. Depths between those layers are the place of sacra conversatione between everything consumed until now and the archetipical Jesus, who is, although in different incarnations, the only possible for Izzy. Her return to figuration, which, depending on our abilities, talks to us with its understandible and clear language about its meaning and sense, is remarkable.
Izzy de la Soyo protureformatically uses the pictoresqueness of old and new layouts which cause our immediate reflex - we communicate with Jesus. Cool, with hope.

Zagreb, Saturday, September 25th, A.D. 2004

Slaven Perović

SLIKE SVEVREMENOSTI

Pisati o radovima Izzy de la Soyo znači shvatiti životnost podgrada nazočnih u sadašnjosti. Kako njezinoj tako i u onoj umjetnosti,a time i same uljudbe.
U nekoliko posljednjih godina, kada je Izzy poćela izlagati na australskoj sceni, napravila je salto mortale. Odskocivši, od neoneandertalizma doskočila je usred neopostmoderne.
Njezini akrili na platnu, a ona je prvenstveno slikarica, cak i kad radi grafike, utemeljeni su u eklekticizmu, a time uslojeni i vodoravno i okomito svim onim što su nam tisucljeća umjetnicčkog stvaranja ostavila u nasljede. Njezin je izraz svevremen, nema niti kraja niti početka. Temelj mu je svesagledivost.
Kao i većina suvremenih umjetnika, pogotovo onih vjernih starim tehnikama, Izzy sa zanimanjem promatra prošlost. Ulazi u dijalog s njezinim najsjajnijim trenutcima i na njemu gradi svoju najnoviju fazu. Sačuvavši sjaj i raskoš samih citata smješta ih u složene odnose barokne razvedenosti.
Sama tehnologija rada temelji se na korištenju platna, kista i matrica kao osnovnih oruda koja interaktivno stvaraju njezine kompozicije. Njihov je prostor slojevit, a sedimentalnost je naglašena bojama u punom sjaju pa crnom i bijelom. U tim dubinama i plicinama meduslojnosti odvija se sacra conversatione izmedu svega do sada konzumiranog i, iako u raznim njegovim pojavnostima, za Izzy jedino moguceg - arhetipskog Isusa. Ono što je vrlo znakovito u cijeloj prici je povratak figuraciji koja nam, oviseći o našim mogucnostima, svojim razumljivim i svima jasnim jezikom govori o svom smislu i značenju.
Izzy de la Soyo protureformacijski koristi slikovitost starih i novih predložaka na koje reagiramo uvjetovanim refleksom - saobraćamo s Isusom. Cool, ufajući se.

Zagreb, subota, 25. rujna A.D 2004.