Between Past and Present

Jennifer: Tamara this exhibition is called Between Worlds – can you tell us about how the paintings speak of that idea? 

Tamara: Between Worlds is a representation of my life's work as an artist. My work explores the concept of dreamscapes that are suspended in two parallel worlds – my past and my present. At this age, I feel blessed to still be working and my work continues to reflect my long and tumultuous journey. At different times in my life, I have been labelled as Russian, Volksdeutsche, Displaced Person, stateless citizen, migrant and Australian. This complexity of identity is woven into all my artworks. The past and the present thread through my work symbolically in patterns, lines and colours. My paintings serve as a testament to resilience, hope and overcoming adversity. They tell stories of new migrants' aspirations, the strength of women, my deep connection to my Russian heritage, the struggles of refugees and stateless citizens and their resilience in adapting to new experiences. 

My inspiration comes from memories of fear, endurance and kindness, but also from my new life in Ballarat. I was born in Russia in 1931 and aged 12, I followed my mother through war-torn Europe. I was transported to Germany and subjected to unimaginable hardships – medical experiments, cold, hunger and dehumanisation. The scars of that time drive me to convey emotions that transcend mere words. Art has become my voice, a medium to express what was once too painful to articulate. As a child, I existed in a world where day-to-day survival was paramount, questions were seldom asked and obedience was crucial. Everyone was fearful of speaking out; everyone masked their feelings. Later, as migrants, we could never openly discuss our wartime experiences and so we continued to mask our feelings. In my artwork you will find silent figures living in surreal and unfamiliar landscapes, reflecting the unspoken pain they carry with them. 

I feel that the circle of my life is closing fast. I have macular degeneration – my right eye is affected and only shadows remain but my left eye still works. I carry the scars of medical eye experiments conducted during wartime. These trials have become part of my sentence but they do not define me. I approach each artwork as an opportunity to explore. The process, more than the product, is my sanctuary. My art is demanding but profoundly healing and allows me to deal with my painful past. 

Tamara, I understand that you started your art practice when you moved to Ballarat. Tell us about that journey and your studio practice. 

My journey into art truly began when I moved to Ballarat. Becoming an Australian citizen opened up a whole new world for me, including the opportunity to further my education. As a married woman with three sons, and now surrounded by beautiful things, I loved my life, my husband and my children. But there was a void – something missing in my life. I took a chance and applied to the Ballarat College of Advanced Education and, to my surprise, I was accepted. In 1981, as a mature-age student, I graduated with a Diploma in Fine Art. That was a turning point in my life, starting an artistic journey aimed at expanding my understanding of art and life. My experiences during the war have granted me profound insights into the human spirit and provided me with abundant resources to draw upon for my artwork.  

Art became my daily solace – I found a way to share my experiences with the world. It also gives me the luxury to play each day, a luxury I did not have as a child. Art has become my purpose and my meditation. Painting centres me because when I paint, I have control. In my early life I had no control – it was taken away from me. I am going to make art as long as I breathe. 

In my studio practice, I approach my subjects instinctively, focusing on the displaced, the dispossessed and the challenges faced by women. I start by using my hands, brushes and palette knives to apply paint, creating layers that build rich textures until I am satisfied with the surface. I incorporate patterns, sewing and linear work, separately or together, with ink to weave threads within my paintings that bring together elements of the past and present. The figures I paint are stylised and interwoven within layers of washes, textures and colours, representing a state of displacement. The dreamscapes I create reflect the experiences that shaped my life. 

My artistic technique is deeply connected to my emotions and experiences. I don't restrict myself to a predetermined colour palette but choose colours intuitively, drawing on the emotional qualities of each hue. 

Who are your major artistic influences and what draws you to them? 

Marc Chagall's influence on my artwork runs deep and is rooted in shared cultural and artistic connections. The dream-like quality has been an inspiration, compelling me to fuse my two worlds in my art. Chagall’s floating figures, flying lovers and whimsical animals evoke a sense of wonder and his ability to bring magic and imagination into his work is a guiding light for me. Edvard Munch is also a significant influence in his use of colour and brushstrokes and his distortion and exaggeration of shape and line to convey feelings and emotions.  

In a world where history seems destined to repeat itself, I now find myself deeply disturbed and affected by the conflict in Kiev, my birthplace. Overwhelmed by the frightening images and stories flooding the media, I again need to seek solace in my art. In my work History Repeating, I portray refugees suffering brutal violations of fundamental human rights.  

I also admire Gustav Klimt's meticulous attention to detail and his ability to transform a canvas into a tapestry of patterns and textures. These shapes, often intertwined with figurative elements, create a sense of unity that speaks to the senses and emotions.

Mirka Mora, also a survivor of the Second World War, was a great influence. Our shared experiences began an instant friendship after I attended one of her workshops. Through her inspiration, I integrated sewing into my artwork. The Family Ties series holds a special place in my heart and reflects Mirka's profound influence. This series includes images of myself and various family members. I wanted to convey my grandchildren’s deep connection to their Russian heritage, a rich tapestry of culture and tradition that flows through our veins. There is a warm embrace of the orange hue, a colour that symbolises a boundless optimism for the future that awaits my grandchildren in Australia. 

If you wanted to direct our attention to one particular work in this exhibition, which one would it be and why? 

Suspended Moments is a series of iconic figures of Russian women, powerful symbols of my heritage. The figures are intricately woven into a tapestry of layers which speaks of displacement, echoing the complex experiences of these resilient women. The layers reveal the experiences that have shaped their lives. The series encapsulates stories within dreamscapes from the women’s past and present. My hope is that the viewer will feel a deep connection, recognising the shared thread of humanity that unites us across time and culture. If the work touches even only one soul, then that is my reward.