....The foreground of NINA's plastic essays (my term for Nina's art) is the beauty and emotion of the rational constructions, which she first discovers for herself and then brings this discovery to her audience. The rational expression bears a hidden element that the game has begun, with the ability of structures to transform endlessly.
...There is no reason for dispute: All of this is confirmed in the creation of classical Suprematism, but foremost in them is the idea, the hypothesis, formula, and law. In this case the artist clearly offers something different. Her interest, as said before, is the game. And she bravely involves her viewer in that game.
...In truth, it is very curious to observe how each suprematic motif searches itself, and how assuredly it breaks its own note into the melody of a completely separate motif: either fighting it, or giving in to it. The artist's chief concern lies in the distinct link of each suprematic form: how concrete each is and how the latter form to this link subsides; or others, becoming absolutely independent from everything and all.
...Throughout the works, which in Cubo-Futurism one could call "Coloristic Dynamics," the artist attracts the extreme situation, when the cubofuturistic construction is at its peak tension and forms near to the limit: in the instant, structure dismantles, and forms take off into a free-fall. In these works much is interesting: foremost, deformation of the elements; the overcoming of flatness; the liberation from centrifugal construction; the re-attainment and liberation from the masses, independent from gravitational flatness.
...The completeness of the artist's vision provide for the natural organic unity of her works — there are no separate parts you need summarize. The artist does not suggest her own layout or chart to unite the forms. She is using the organic unity of nature, which combines light and color, line and flatness, volume and form into one. Nothing is in existence by itself, but is a part of one wholeness, correlated and descended from all forms, colors and rhythms. One cannot stop or interrupt the processes of interaction, penetration and rooting that are permanent on all levels everywhere.
There is no independent space; all forms interact. All forms are a manifestation of the infinity of space. The space is the substance characterized by its own movement, development and "growth". That explains the stunning effect of NINA's organic series — the effect of birth, the birth of the form. I want to stress that in this series the forms are NOT CONSTRUCTED, but are BEING BORN..............
Doctor of Fine Arts,
Moscow Institute of Art Theory and History.
*Article taken from the catalog from the exhibition “Avant-Garde Adventures”, National Art Museum of Ukraine, (NAMU), Kiev, 2004