Fine Art
NATALIA KOREN KROPF
Sculptor
Natalia describes her sculpture work, an intuitive process that results in endless curves and a keen sense of the reflective properties of the materials she works with.
You’ve studied art in both the U.S. and Russia. What was the general takeaway from these diverse studies, and what have you incorporated from each culture into your current work?
I consider myself very fortunate to be able to study in both hemispheres of the globe. I would also add a couple of lucky circumstances, such as being born into a family of artists and having an early start in formal education. During my formative years, I received spiritual, intellectual and practical training which laid the foundation for fractal development of each aspect of my studies in painting, drawing, composition, art history, art appreciation, poetry, calligraphy, philosophy, mindfulness, spiritual healing, martial arts and esoteric practices. All these early interests were able to flourish and stay abloom here in New York. The timing was perfect as I embraced contemporary art at its very center.
In short, the foundation of European classical traditions was merged with the experimental expressionism of my studies in New York just at the right moment in my life. I was able to proceed as an artist seamlessly and excitedly.
I consider myself very fortunate to be able to study in both hemispheres of the globe. I would also add a couple of lucky circumstances, such as being born into a family of artists and having an early start in formal education. During my formative years, I received spiritual, intellectual and practical training which laid the foundation for fractal development of each aspect of my studies in painting, drawing, composition, art history, art appreciation, poetry, calligraphy, philosophy, mindfulness, spiritual healing, martial arts and esoteric practices. All these early interests were able to flourish and stay abloom here in New York. The timing was perfect as I embraced contemporary art at its very center.
In short, the foundation of European classical traditions was merged with the experimental expressionism of my studies in New York just at the right moment in my life. I was able to proceed as an artist seamlessly and excitedly.
One Ended Knot
Wall Sculpture Paper Pulp Fibers, Gypsum, Steel Armature ~ 15 x 25 x 5 inches © Natalia Koren Kropf |
Morphing
Bronze Sculpture 24 x 20 x 12 inches © Natalia Koren Kropf |
What draws you to abstract art?
I am drawn to the open possibilities of interpretation.
Non-objective art is perceived beyond its form. It stirs other kinds of perceptions besides the visual. It may evoke an association in memory connected to a musical rhythm, a dream, and even an aroma or taste.
Abstract art is universally relatable on a personal level to each viewer, and this very subjectivity of interaction makes it fascinating in terms of attracting like-minded individuals, uniting them under similar aesthetics.
Of course, the opposite is also true – artistic choices reflect personal worldview and define a viewer’s critical stand.
I am drawn to the open possibilities of interpretation.
Non-objective art is perceived beyond its form. It stirs other kinds of perceptions besides the visual. It may evoke an association in memory connected to a musical rhythm, a dream, and even an aroma or taste.
Abstract art is universally relatable on a personal level to each viewer, and this very subjectivity of interaction makes it fascinating in terms of attracting like-minded individuals, uniting them under similar aesthetics.
Of course, the opposite is also true – artistic choices reflect personal worldview and define a viewer’s critical stand.
A Treasure from Under the Sea
Lightweight Hangable Sculpture Paper Pulp Fibers, Steel Armature, Polymers, Pigments, Flexible Plastic, Copper Wire, Wax, Resin ~ 12 x 10 x 8 inches © Natalia Koren Kropf |
What would you say is the overriding theme of most of your sculpture work?
I would say it's the flow of the tapestry of life. This fabric is an invisible force that is present within us and outside of us. It is everywhere, not to be seen but to be felt. Intuitively, I perceive fragments of this field which emerges in the pliable material that becomes my sculptures. “A Treasure from Under the Sea” reminds us of the beauty of coral reefs, but also that these reefs can ensnare. Please explain this mixed media piece.
This is a playful tribute to underwater findings - everything submerged is a hidden ‘treasure.’ Then, upon emergence, it gets sorted according to the principle ‘one man’s junk is another man’s treasure.’ Like my other abstract pieces, this sculpture is open to individual interpretation. Viewers have perceived a rusty propeller, a section of a coral reef’s maze, and human pollution affecting marine ecosystems. What attracts you to mixed-media sculpture work? Mixed media allows a lot of play with the materials and their physical properties. I am fascinated by textures – smooth and rough, shiny and matte – and use of color versus white. All of these choices add to the excitement of creating the sculptures. |
Your sculptures are fluid, and the viewer’s eye never lands on one area. Your work is meant to be viewed by walking around the piece in both directions. When you plan a sculpture, do you create sketches from various perspectives, or do you let your hands guide you?
I close my eyes to let intuition guide me.
I close my eyes to let intuition guide me.
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Throughout your work – including your prints and paintings – you incorporate infinite curves. Has this evolved over time, or was it something you gravitated to as an art student?
As an art student, I followed classical academic traditions, including copying old masters in oil as well as precise drawings from the Renaissance to the Modernist Movement. Both included cubes and angles. However, in my 20s, I was deeply fascinated by cubism and suprematism, so it is safe to say that I transitioned from angles to curves. Curves feel intuitive and refined, like a gentle flow. I perceive the world with more acceptance and deep respect for all the interrelated processes, which I feel can manifest as waves or curves. |
Emergence
Paper Pulp Fibers, Gypsum, Steel Armature ~ 16 x 15 x 8 © Natalia Koren Kropf |
Oculus
Gypsum, Aluminum, Patina, Pigment ~ 18 x 12 x 6 © Natalia Koren Kropf |
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Please describe the inspiration behind your piece “Harmony.”
Harmony is one of the first bronze pieces in the series of Bands. Here I explore the idea of curves and angles as well as curves at different angles. I vary the thickness and the direction, then disconnect the flow only to follow it again to connect the seemingly disjointed elements. The main event of the piece are the ends that almost touch - the harmony of the opposition. Please describe the inspiration behind “Trinity.” Trinity, or Three angels, is a sculptural composition consisting of the same form made of different materials – ceramic with white and blue glaze; aqua-resin with silver finish, and clear resin tinted with magenta. The idea is to manifest an angelic spiritual being in a three-dimensional form, offering visual possibilities in transparent, matte glaze, and metallic gloss together in a cohesive piece. The spiritual message ties into physical reality and human perception through the use of tactile elements and reflective qualities. |
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Helix
Terracotta, Carving, Partial Glaze ~ 10 x 6 x 5 inches © Natalia Koren Kropf |
Do you have a favorite female sculptor or someone who inspired your sculpture work?
I feel that the gesture itself is leading me. I work intuitively and cannot pinpoint specific influences while I sculpt. It is rather a collective knowledge of art history and some experimental ambition that I follow. After the work is finished, I can look at it from a critical point of view and compare it to similar aesthetics of other artists. Thinking of specific female artists whose work I am drawn to, I would start with Hilma Af Klint, whose life and work I consider extremely relatable. I love the sculpture work of Barbara Hepworth, Yayoi Kusama and Louise Nevelson. I am greatly inspired by the gestural paintings of Joan Mitchell, the rich narrative tapestries of Faith Ringgold, and the geometric abstractions by Carmen Herrera. Where do you find sanctuary? My refuge is within the connection to the fabric of life. I find it everywhere - in nature, in the forest, at the deserted beach with the endless ocean and vast sky, or looking at light and its reflection. In fact, I believe that a sculpture is a surface for light reflection. Thanks to the light, we can perceive the form, and we can ‘read’ the invisible messages illuminated by myriads of photons. |
Natalia Posing with her Bronze Sculpture "Unisurface" at
NAWA's 133rd Annual Members Exhibition Upcoming Exhibitions 2023
“Mythos” The Painting Center New York City January 3rd - 28th ArtExpo Pier 36 New York, NY March 30 - April 2 |
Natalia Koren Kropf is a classically trained interdisciplinary, award-winning contemporary artist who combines art and science in various studio media. She explores current topics of change in climate and society and the eternal themes of light and movement.
Born and raised in St. Petersburg, Russia into a family of artists, Natalia studied at the Academy of Fine Arts from a very young age. Upon family relocation to New York in 1992, she embraced its contemporary art scene. She graduated from Parsons School of Design and was offered a position as a drawing teacher there, while independently studying at the School of Visual Arts and the Art Students League, experimenting with mixed media and printmaking. Currently, she is adding sculptural forms to her works, depicting the interconnectedness and harmony of all the elements of life. Natalia is an avid supporter of a sustainable lifestyle and eco-clean art practice. Natalia has won several national awards. Her work is exhibited nationally and internationally. Notable exhibitions include: New York University East Galleries; Parsons School of Design Gallery; RAVE MIAMI Art Fair; Silvermine Artists Guild; The Art Students League of New York; Center for Contemporary Printmaking; Modern Art Museum ARTMUZA, St. Petersburg, Russia; The State Darwin Museum, Moscow, Russia; ECO-ART Project NYC; Awagami Inbe Space, Tokushima, Japan; Arts Club of Washington, D. C.; among many others. Her works are in international private collections in Europe and the United States. Natalia enjoys sharing art knowledge at her private studio. She is a member of the Allied Artists of America, the Art Students League of New York, and the Monotype Guild of New England. She is former President of the National Association of Women Artists (2019-21) and is currently serving on the Board of Directors. |
