Echoes of Infinity
by Natalya Raduenz
I Am Near, 2012. Echoes of Infinity series. Acrylic on canvas 19.7 × 15.7 inches.
In my work, I explore the boundaries between the visible and the invisible — the realm where the divine intersects with the personal, and where infinity takes on form.
The painting I Am Near was born from a state of total surrender. Using a method I call "blind painting," I allowed my hand and the paint to move freely across the canvas without intention or plan. As layers accumulated, unbidden presences began to emerge: eyes, faces, beings watching. Rather than imposing form, I revealed it, made visible what was already there. This process, to me, feels like a divine encounter — not a depiction of the divine as an external power, but as something immanent, hidden in the texture of reality, waiting to be seen. The canvas becomes a veil between worlds, and the act of painting a form of communion.
Zeit.los!, 2019. Echoes of Infinity series. Graphite, acrylic on paper. 16.5 × 23.4 inches (A2).
In contrast, Zeit.los! (Time. Go! or Timeless) is a visual meditation on the linearity and relentlessness of time. The striped corridor suggests the pattern of a zebra, black and white alternating like moments of clarity and shadow in a human life. A withered tree stands at the edge of this corridor, its final leaves transformed into red hearts that drift away, the only traces of color, representing emotion, memory, and love as the enduring residue of passing time. A vintage clock, echoing the White Rabbit's timepiece from Alice in Wonderland, hangs from the tree, its hands frozen near midnight, heightening the sense of urgency and ephemerality.
At the far end, a wooden ladder leans toward a glowing rectangle of light, a portal without clear destination, a passage between the temporal and the eternal. This quiet symbol of transcendence offers a suggestion: that there may be a way out of the cycle, or at least, a way through.
Together, these works reflect different approaches to the infinite, one inward and immediate, the other reflective and allegorical. Both ask: where is the boundary between presence and eternity, between here and beyond?
Natalya Raduenz (b. 1980, Ukraine) is a metamodern artist and iconographer based in Germany. Her art combines traditional and modern methods and creates multi-layered, symbolic pictorial spaces that deal with themes such as transformation, spirituality, and the intersection of cultures. Her works have been exhibited and honoured worldwide and are held in private collections across Europe.
