Malina paints women. However, when I took a closer look at the female shapes, I understood that Malina paints contours. In fact, they are varying contours of women’s bodies as seen by the artist in her very individual manner.
Each painting shows her interest in another variation of this theme. We can even say these are variations on the “secondary sexual features” of women. If hips are in the center of Malina’s attention, they are wide; if breasts, they are rather small. Legs, feet, hands and heads fade away somewhere in the background.
While I refer to it as “painting”, in fact Malina draws with a brush. These are drawn paintings. Rubbed backgrounds, always but a contour, some grey paint and lots of free space for free associations. The backgrounds against which the shapes appear are usually red, brick-red, orange or grey. A grey contour against a grey background is virtually the ideal of imperceptible painting.
There are some contradictions in her work. She uses strong colours, but in reality she doesn’t want this to be apparent. Strong colours are not her ideal. But on the other hand, how can you talk about feelings and emotions without using contrasting colours?
Perhaps all her paintings explore the same theme – how to be loved?
These women’s contours provide a catalogue of all that can fascinate in the female body. Almost always lonely, they seem to be longing for affection. Not necessarily beautiful, they still want to be loved. Pictured in a way which will make them attractive to men.
Women need to have expressive bodies.
I have a feeling that Malina is painting her own version of “The City of Women”, where men chase their unattainable ideal. And they will never reach it which is just as well.