Katarína Tekelova – Blazova was trained at the Academy of Fine Arts in Bratislava in the studio of a free painting and tapestry. Along with many of her fellow students from the studio of professor Peter Matejka, she soon adapted the relationship to a textile based on its interlacement with a painting and the traditional expressive means. In her tapestry works she often inclined to painting techniques and monumental expression. This can be said to be true for many of her fellow students, for whom these two approaches have been in a complete sympathy throughout all their careers. Katarina Tekelová-Blazova established herself as a painter at the beginning of seventies. In her early works one can find the traces of common themes that will be running through her own works over a long period – her strive to reveal all pain and a sense of destiny in her femininity, the unity of passion and humility, revolt and submission, vigour and order, hope and despair, love and love-hate. The expressive painting of her early nudes, done in a reduced palette of the two basic contrasting tones, show the author´s extreme sensitivity to every impulse coming from her inside. It is as if she entered her paintings and merged into them, creating non-sentimental ideograms of herself. This principle appearing already in her early works, enabled her to take another step forward, namely in the painting cycle called “Golden Age” (1990-1992) and her latest body of work. And here again, we are confronted with her impulsive and dynamic style, with wide brushstrokes and a sharp …. As if she was trying to re-call her nature back to life and relate it back to the reconstruction of her memory. We witness her instinctive and explosive vision, subconscious and archetypal, that helps her to see and understand the world and finally to transcend her own being.
Marta Hrebickova, 1998