Nika’s more recent “paysages” can be classified as pictorial screens, where creativity is at work in the search of a new modern landscape that has been long lost. Melancholy can be felt everywhere at the fundamental loss of the former pictorial object. Both the painter and the viewer experience the /slow/ed rhythm of the revived landscape depiction. But we also notice the highest metaphysical clarity in the approach of the depicted landscape, a primary concern at its loss in modernist painting. The painting tells us that we do not yet know how to lose, that are not yet ready to renounce the depiction of landscape. For the painter, its disappearance represents a modernist experience which she can easily relinquish. Her landscape is therefore not imitative, but a brilliant and at the same time fragile visual illusion, an idealization of love and a melancholy fervour. Its creativity is therefore not a traumatic mania in any way, but an approximation, recognition of the void, which the image of the landscape still evokes.

The chromatic charge on the canvas shows the lack of lost and almost forgotten content. Hence the content, subject, message of the work remain a mystery to us and to the painter, who is in no way torn between the desire to paint landscapes and the abstract, abstracted themes in modernist painting. Despite all, the artist is now resolute in her decision to paint “psychic landscapes”, in which she is now led by a primal internal effect, which are: experience and emotion. These paintings are no longer daydream, that is to say: the regressive internal daydream at the core loss of the painting object, but the infinitely alive pulse of the image. Therefore, it would be difficult to argue that the artistic approach and visual expression are reduced in principle, just the opposite: in no way do they devalue the content-message of the canvas, but enrich it with pleasure, delight, which now lead the artist’s hand. Nika reconstructs the originality of /primeval/ forms and the illusion of the premodernist landscape by creating a visual language, which does not replace realistic objects, but combines pictorial signifiers with impulsive rhythms in the application of paint. Her significant psychic force now joins every structure, all pictorial – object forms – with the subject, that is with the painter, thus preventing the separation of the painted image from nature. The melancholy in her works is otherwise also tied to the past, that is to say to the loss of landscape in modernism (in this sense it seemed that this topic has become exhausted and obsolete), and yet the artistic entity remains true to her, without the possibility of significantly changing or revolutionising the situation. The mental content of the painting is otherwise also filled with a hypertrophic past of the landscape, but the artist is already capable of giving it a renewed sense of meaning. This internalization, this evasion while forgetting nature as an object in contemporary post/post/modernist painting is very much evident, yet the negativity – deficit, forgetting of imitative pictorial processes – is replaced by the positive, postmodern romantic experience that leaves itself open to an emotional rhythm. Where imaginary, existentialist activity is at work, and gesture, condensation holds prominence, and the former discursivity and narration of the image are defeated.