Born in Riga in 1985, Valentina Kovalishina, in art Valentinaki, after studies in economics, becomes a choreographer following her own artistic vocation, until her insatiable curiosity leads her to the painting and the development of a style, albeit consistent, always new and surprising. The passion for painting and the arts blossoms in Valentinaki during childhood, which inaugurates her artistic training by attending a course of drawing at the age of nine. Hereinafter, Valentinaki is dedicated to the research of colour sneaking with watercolours, at first, and then passing to the study of crayons with the Latvian painter Valeria Shuvalova. Arrived in Italy in 2009, she learned the art of oil painting with the florentine artist Giusy Boncimelli, that imprints a technique that will remain inextricably in the artistic background of Valentinaki.
Her pictorial style then receives a shock in the moment in which she understands her real vocation: it’s abstract painting in which the Latvian artist finds her maximum expressive potential. Always keeping a poetic coherence and aesthetics, Valentinaki extends her artistic survey focusing on the appearance and materials on three-dimensionality. The brush strokes in a crescendo of intensity, explode, becoming low relief and sculpture. Through the use of disparate materials and with a blend of colours, lights, shadows and objects, the brush of the artist describes the themes that are dearest to her.
The waves of the Baltic Sea and the pristine beauty of the woods and nature strike deep in Valentinaki, making urgent her complaint against men that ruin with pollution the world in which she lives. The materials used in her work break, extend forward, move restless, asking to be listened. It is the sighing of the aching nature, the dark bruises that Mother Earth is forced to show. In the midst of this heartfelt cry, it seems to see, between the patches of colour, a tear that drops, but also a hand ready to dry it. It is the artist who, with her own sensitivity and through the expressive means to her granted, collects tears for the help of nature, expresses and exorcises. It appears here, between the hue cupe, a white, a tone, clear to restore the hope of a ransom. The materic explicit, of great visual impact, provides the key to the reading of the poetics of Valentinaki. The black petroleum raffigurations in many of her paintings have a double significance: it is dangerous because it is dirty, polluting, contaminates, yet it is also a source of life, energy, and livelihood.
The black, in fact, thanks to the glazes applied by the artist, manages to radiate a gloss which makes it sweet; it is symbolically contradictory to destruction and life at the same time. The narratives that Valentinaki creates with her paintings, by the telling of nature and the world are a real gap to reach the personal universe of the artist. The materials varied are silhouetted, arrogant and overbearing, on canvas, communicating us -in a series of virtual references- the vibrations that Valentinaki feels when she is shaken by the waves of the sea and the wind of her woods, leading in another dimension, made of shadows and lights. “In the expressiveness of Valentinaki there are no signs of harassment whatsoever, sudden spike, aggressive inserts. There is not even a mental calculation. There is, instead, much sensitivity and expressive balance, a binder chromatic definition”. Valentinaki thus reaches to forge a new world, a cosmos redesigned to be adapted to the expression of the vision of the artist and her universe, not devoid of chaos and unexpected.