Koldobskaya’s painting is a definite homage to the Russian avant-garde of 10-20s. However, the dynamics of avant-garde works that reflects the social upheavals is rejected by Koldobskaya — her works are static, monumental, emphasized laconic, devoid of narrative. It is well-established, even stagnated world of familiar objects — which, perhaps, it’s time to explode. No wonder the items are filled with red, and black outlines can hardly keep the shape in the field of picture.
At the same time, this series refers to the pop art of the 50-60s, with its attitude to everyday things as objects of desire — forms-signs of Koldobskaya are sensual, downright violently painted. There are not talking about purchase and consumption, but to beget — to give birth – to kill — to eat. In inanimate objects discerned something biomorphic — the mesh of capillaries, twists the brain, clusters of eggs, vagina-cuts, phallic obelisks.
At the same time, The source of her inspiration-archaic, primitive world of the hunter, drawing the beast on the cave wall, or the world of the child, which reveals all for the first time.
The artist successfully realizes herself in different techniques and ways of presenting her “wild” art, each time finding new opportunities in the new material. From the canvases and boards with brightly colored objects she comes to large wall paintings. Painting can settle on furniture, doors, windows or find its place in ceramics, decorating plates, cups, vasas.
The image-sign-petroglyph-the autograph is written with brave, bright, impressive brush-stroke. The artist does not hesitate to work on the verge of kitsch, combining the festive elegance, the game, a willingness to please – with a tireless, almost scientific work on creation of new images, which sooner or later will inevitably add up to a giant alphabet.

Gleb Yershov
art historian