The act of drawing builds the foundation of Natalia Koroyaeva’s artworks. It is as much process and tool as it is the final result. It is an act of remembrance and an attempt to hold on to or fixate the vaporous nature of figures and images that already exist in the artist subconscious. Carriers of meaning that exist solely in memory or impressions collected through out the artist life come into existence and it is not she as an artist that makes them meaningful but the viewer’s own body, memory and subconscious. It is what allows the boundaries of transcendence to become visible. 

Korotyaeva’s artworks share the concern to catch the viewer’s attention and focus it on real people in her but also the viewers every day surroundings. The protagonists of Korotyaeva’s art are embedded in everyday life. The personal experience becomes representative for every day interactions. The drawing and the surface it is on becomes the gap between the artist’s inner world and her surroundings. The work is intimate yet it shares larger concerns that relate to and can be interpret by the viewer. A possible overpass is created between the mundane world to a transcendental state where communal emotions and notions can coalesce. Apprehension is the apposite word, it implies process of intake, coming to awareness, holding, mediation; boundaries of relation; and qualities of openness and reservation alike.  These moments of private contemplation become a public space. What started as a subjective language opens a myriad of interpretations each dependent on the viewer’s own perception of the work. 
 
The often female figures in Korotyaeva’s work do not built upon classical iconography but instead try to find new ways of positioning the female form and women in history. The work becomes a negotiation to find a contemporary outline of the female form from within as well as an investigation into the position of women in contemporary society. 
 
The root of Korotyaeva’s work nonetheless is poetic, not scientific, it does not state it’s meaning or purpose clearly but instead leads each viewer by the hand to reflect and project his or her own realties on to it. 
 
 
- Adriana F. Pauly