Etchings of Paris

"Natalija added Paris in her most recent works and has grasped the Parisian ambience with a view that encompasses several of its most recognisable elements that have also imprinted into the artist’s memory. As she was rising above it, she connected it into a newly articulated inlaid entity from the perspective of her imagination with idiosyncratic intuition. The support scaffold of such a "panoramic” image rests on the rhythmically segmented plastic base of the bridge, dominated by the
backdrop of the Notre-Dame cathedral, to which the artist has built a top to one of the unfinished
towers in her imagination, and from where straight and circular lines tighten, embracing the
squares and their buildings, modified into geometric forms. Discernible somewhere on the
edge is a miniature Eiffel Tower, and beneath it, in the corner of a bistro, Picasso’s harlequin gazing
toward the cathedral, and then again elsewhere, coming to life, Manet’s Olympia, who has
retreated from a gallery, shamelessly reclining in front of a bistro as its only visitor.
Reminiscent views of the city with street lamps and a windmill meet in the painter’s eyes with her self-evident perceptions of Parisian life tied to the history of art there; which is why they are not conceived as a tourist map, but embrace the city only through the memory of the artist’s heart, sometimes imprinted in different colours on the same prints, as if the artist wanted to harness only its beauty and charming reminiscence of the emotional colouration of the experiences there into her every personal view. Here, too, the relationship towards architecture dominates in her view, which presupposes a
pronounced sense of architectural segmentation, encompassing a geometrically crystallised
living space."

Text by Milček Komelj for the exhibition catalogue "Original Printmaking"