Sirje Helme POPKUNST FOREVER. Estonian Pop Art at the turn of the 1960s-1970s.
In this book Estonian Art CriticsAnts Juske had written: Union-Pop did not concentrate on commercial banality, but on the banality which was introduced into Estonian life by the Soviet system.
In writing about the phenomenon, Ene Lamp mentioned the need to quench the thirst for beauty.
WHERE ARE YOU FLYING? - RIGHT BACK ON THE WALL! 2016
Aili Vint: To empower the unpredictable nature of the Sea that draws us to it, I let some tiny abstract paintings loose in the Tartu Art House. Like little butterflies they were fluttering around the seascapes, spreading gossip about the moods and whims of the Sea. Just like people floating around in their moods, just like on the waves of the Sea!
1967 - THE FIRSTS GOUACHE PAINTINGS
1. Joy 1967 gouache painting, Tartu Art Museum
2. Catastrophe 1967 gouache painting, artist's collection
:In this book. POPKUNST FOREVER . Estonian Art Critic Sirje Helme had written:
Aili Vint’s colourful gouaches consciously relate to the Pop Art world, but not only; these works, painted by an artist who has an amazing sense of colour, are on the borderline of Op Art. In Aili Vint’s case, technique should be emphasised – the colour gradations that she achieved can only be painted in gouache. For Aili Vint, most of the criteria for defining Pop Art do not apply, but in her lyrical approach she may be connected with the hippie world, even in the poor local conditions. In a way, bohemia and glamour, and bohemia and construction met in her work.
Aili Vint: Blossoming 1971, gouache painting, Kumu Art Museum
A SAD STORY
Aili Vint: In the beginning of my career as an artist I loved picking vibrant colors, comparing their lightness-darkness and boldly transferring them to the paper without much awareness of where this came from. This resulted in op-art, which was innovative at the time.
Years later I learned that there is an acclaimed artist named Ay-O in Japan, who uses the same kind of striped gradient motifs in his paintings. He was already famous at that time and I might have been pegged as a plagiarist: Someone named Ay-Li does the same thing as the Japanese Ay-O!
I abruptly gave up the style I had invented, despite the fact that it held a lot of promise for development. It was a pity, of course, but I actually enjoyed this unexpected turn in my work, which gave me the opportunity to start painting the Sea instead, something that I had already dream of as a child.