CONTEMPORARY UKRAINIAN ART EXHIBITION
Organised by:
www.ukrainianartgallery.co.uk |1
2|
CONTEMPORARY UKRAINIAN ART EXHIBITION Featuring
Taia Galagan Petro Lebedynets Alla Aleksieieva
4 March 2015 - 10 March 2015
|3
Anna Lavrekha
Anna Phillips
In a complex and multifaceted space of Ukrainian art, creativity of Taia Galagan (Tatiana Gershuni), Petro Lebedynets and Alla Aleksieieva draws attention by originality and high professional aesthetics. These artists acknowledged among the top 100 Ukrainian artists and represent their country at various international art forums. Their works are present in private collections of Ukrainian and European art lovers, as well as in the collections of museums such as the Museum of History of Art in Vienna, the Ukrainian Museum New York / USA, Modern Art Museum of Ukraine and others. Worldwide Auction houses pay these artists with their great attention. Taia Galagan declared herself on the Ukrainian art scene in the early 1990s. Now the artist works with various media, but her main work is painting. Recent series is using stereo images - an experiment on the technical and aesthetic possibilities of painting, trying to solve new conceptual tasks without violating their fundamental principles and rules. We present a series of “double portraits� of the artist. Each work consists of two superposed layers of visual, which are clearly visible through 3D-glasses. On the basis of the original portraits, they represent a new visual and conceptual row. Petro Lebedynets and Alla Aleksieieva - outstanding representatives of modern abstract art in Ukraine. Artists consider colour as an essential element of painting and as a metaphor for the human perception of the world. They consider as one of their main tasks to transfer to canvas their feelings and impressions from the outside world, where artistic intuition is the basis of artistic search. Flashes of light and colour on paintings of Petro Lebedynets and Alla Aleksieieva evoke the power voltage of an abstract space. We are delighted to introduce you to the works of these artists and hope that their works will attract attention to this fascinating art. Curators of the exhibition - Anna Phillips and Anna Lavrekha
4|
|5
Taia Galagan Born in 1968, Kyiv, Ukraine Lives and works in Kyiv, Ukraine Education Private Drawing and Painting lessons A.G.Poluyanov Studio, Kyiv/Ukraine (1987-1988) Bachelor Program Art History and Theory; Ukrainian Academy of Fine Arts, Kyiv, Ukraine (1990-1995) MFA Program, University of Saskatchewan, Saskatoon, SK, Canada (1997-2000) MFA (Master’s of Fine Arts), Painting Teaching Experience (Canada) Vancouver Art Institute: Teacher/ Instructor: Color Theory , Fundamentals of Design, Life Drawing (2005) Redhouse College of Classical Animation:Teacher/ Instructor: Life Drawing (2004-2003) S.C.E.T.CH College of Art and Design:Leader/ Instructor:Life Drawing (2003-2000) University of Saskatchewan: Teacher/ Assistant: Introductory Drawing (1999) University of Saskatchewan, Saskatoon, SK, Teacher/ Assistant: 1st Year Painting Lab (1998) Selected Exhibitions and Projects “The fire of Love. Commemorartion to Maidan”, “M 17” Contemporary Art Center, Kyiv, Ukraine (2014) “Yin”, “M 17” Contemporary Art Center, Kyiv, Ukraine (2013) “Anger” Solo project within ARSENALE 2012 , The 1st Kyiv International Biennale of Contemporary Art, Leonardo Business Center, Kyiv, Ukraine (2012) “Artist’s Double Portrait” at “Kiev Art Contemporary” Art Fair, Art Centre “Mystetskyi Arsenal”, Kyiv, Ukraine (2011) “Space Odyssey”, Art Centre “Mystetskiy Arsenal”, Kyiv, Ukraine (2011) “YIN“, Center for Contemporary Art “M17”, Kyiv, Ukraine (2011) “AYT”, Museum of Ukrainian Contemporary Art, Kyiv, Ukraine (2011) “YOU +”, Pinchuk Art Centre,Kyiv, Ukraine (2011) “AYT”, “Chocolate House”, Kyiv (Artist/ Art Curator,Guest/ Presenter at TEDex, Kyiv, Ukraine (2010) “Kiev Art Contemporary” Art Fair, Art Centre “Mystetskyi Arsenal”, Kyiv, Ukraine (2010) 6|
“On the Wave”, Gallery “Bottega”, Kyiv, Ukraine (2010) “A4” Gallery Atelier Karas, Kyiv, Ukraine (2010) “Bloom’s Day” International Festival of Contemporary Art, Gallery “Collection”, Kyiv, Ukraine (2007) “Daring Confessions; Romance And The Modern-Day Girl”, “Mendel Art Gallery”, SK, Canada, (2003) “Paintings From L. Bereznitskaya Private Collection”, Gallery “L-Art”, Kyiv, Ukraine “Women Business”. Museum of Cultural Heritage, Kyiv, Ukraine (2001) “Pause”, “Gordon Snelgrove” Gallery, Saskatoon, SK, Canada (2000) “Revolutios”, Saskatchewan Soundworks, Saskatoon, SK, Canada “AUT”, Saskatoon, SK; “Antechamber” Gallery, Regina, SK, Canada (1999) “Mute Worth”, “Gordon Snelgrove” Gallery, Saskatoon, SK, Canada “Not From Here”, “Gordon Snelgrove” Gallery, Saskatoon, SK, Canada (1998) “Great Ukrainian Women Artists”, Gallery “Lavra”, Kyiv, Ukraine (1997) “Sugar Plum Vision”, SCCA (Soros Centre for Contemporary Art), Kyiv, Ukraine (1996) “Ultra Dialogue”, Gallery “Blank”, Kyiv, Ukraine (1995) “Neochimerism”, Odessa, Ukraine(1995) “Mouth of Medusa”, Gallery “Brama”, Kyiv, Ukraine (1995) “Barbaros”, Ukrainian Artists’ Union Gallery, Kyiv, Ukraine (1995) “Free Zone”, State Museum of Fine Arts, Odessa, Ukraine (1994) Public Collections Gordon Snelgrove Gallery, Saskatoon, SK University of Saskatchewan Art Collection, Saskatoon, SK The Museum of National Heritage, Kiev, Ukraine Grants and Awards Individual assistance Grant, Saskatchewan Arts Board, Canada (2004) Graduate Teaching Fellowship, U of S, Saskatoon, SK, Canada (1999) Graduate Teaching Assistantship, U of S, Saskatoon, SK; Canada (1998) Sonya and Roman Stratiuchuk Scholarship, U of S, Saskatoon, Individual Artist’s Grant, Soros Foundation, Kyiv/Ukraine
|7
What the critics say... I think, art in the whole can be considered as a self-portraiture. Whether it is a realistic traditional landscape painting or an abstract modern installation, it is still an embodiment of the artist’s spirit breathed into his creation, thus, representing his extended self. Art is an artist’s ‘corpus phantasticum’, an implement for expansion, sometimes, even aggression. Because without its sacred meaning mastered through the craft and executed according to a canon, art becomes not only the Baudelaire’s “ideal commodity” but also the De Sade’s gesture of violence in its intention to thrust the world with something in what there is no need. By using a self-image as a self-promotion carrier like Andy Warhol, by stripping it down to the bone like Damien Hirst, by giving the characters a quality of a grotesque mask of the own face like Maria Lassing, by filling the works with both conceptual and decorative personal presence like Gilbert and George, by promoting a self-pornographic photo-session through different media like Jeff Koons, or, by dedicating performances and installations to the fazes of death from a cancer nibbling though one’s body like Cristoph Schlingensief, the artists of the newest times consciously, bravely, provocatively and shamelessly explore and exploit a genre of a self- portraiture. In fact, nowadays even the clergy tends to conceptualize human body as an essence of an individual unit because «there is no way that a man would be a man, or a spirit, or an entity etc. primer to his relation to the world. On the contrary, a man becomes a man only through his physical relation and interaction with the world. This means that through his own body he becomes himself.” (Walter Kasper, German Cardinal of the Roman Catholic Church)1. For Taia Galagan, who obtained her first high education as an art historian and theoretician, destiny and physicality of an artist are deeply interlaced and no separable. The idea that an artist always stands behind his/her work dominates in her artistic gestures from the very beginning. Certainly, her early self-portrait as a child surrounded by her childish amateur drawings (1996, “Past Perfect Times”, Soros Centre for Contemporary Art ,Kyiv), her self-images printed on a Xerox machine (1995, Blank Gallery, Kyiv), nu self-portrait in a snowy Canadian prairies which refers to the Giorgione’s “Sleeping Venus” and as Biblical Eve in the series “After Expulsion (after Masaccio)” (1999-2000,Gorgon Snelgrove Gallery, Saskatoon, Canada), “Self-portrait as House-Painter” (2006, Vancouver, Canada) which resembles Vermeer’s “Girl with the Pearl Earring”, are the embodiments of the artist’s emotional and physical transcendental experiences interpreted through the history of visual art. “Past Perfect Time” installation shown under the ultraviolet illumination was the first bench mark in Galagan’s reflection on a genre of self-portraiture in particular and her personal artistic style in general. Her innovative search for the new forms of visual representation within the boundaries of traditional media such as photography and painting entitled her a “peculiar classic” of the Ukrainian art scene of the 1990s. 8|
The artist’s subsequent experiments with light and colour based on the scientific discoveries of Joseph Albers, Carl Pulfrich and other famous researchers in the field of visual perception inspired her to create a painting technics built on the principles of 3D stereo image known as “anaglyph”. “Double Portrait of Maria Galagan” (2010, International project “AYT”, Kyiv) was the first in a series of these innovative works. The painted anaglyph represented two superimposed images: the photo of the artist’s mother and “The Portrait of Maria Lopukhina” (1797), a famous work by Ukrainian artist Volodymyr Borovyk, known in the history of Russian art as Bladimir Borovikovsky. This work where the visual synthesis refers to the unity of private and public space as well as to the transcendent nature of the genetic and historical identity became a peculiar dialogue between two artists born on the same land, connected through the native roots, although, separated by time and space. In the gallery of the “double portraits” of her celebrity colleagues Taia Galagan mixes their images with the ideas, works, and personal stories which she considers to be the key elements in their lives and artistic styles. What would be more convincing for the viewer – an artists’ appearances or their transformations through the prism of the ideas? 3D glasses which viewers are welcomed to use in order to observe this transition, serve not only as a playful device which will help to crack the puzzle but a key to the new dimension, the entrance to their own minds and perception. In his “Labyrinth of Solitude” Oktavio paz wrote: “We pray not for a happiness, not for a leisure, but for the moment, a single moment of a valuable life in which the opposites would be moved, and life and death, time and eternity would be reconciled. We guess that life and death are the two vectors of the same reality; even being antagonistic they complement each other. Creation and destruction are mixed in the act of love; and in a blink of an eye a man vaguely awakes to the state of perfection”.To catch this Nano-second in his work is the main goal of an artist who is always present behind the scenes of his works, even when creating a self-portrait. Konstantyn Doroshenko
1. W.Kasper, Jesus Christ - Kyiv, 2002, p. 207. |9
Artist Double Portrait Since painting began to develop the goal of the painter has been to replace visible reality with its 3D optical illusion. The History of Art illustrates this goal successfully achieved by various innovative principles and technical means. It’s my belief that realistic painting is still a territory for further exploration in terms of its optical and conceptual possibilities. 2D illusion of 3D space is not the final frontier. I am interested in what can be encoded and seen in between painted layers. My recent research into the principles of the 3D image making in photography and film projection inspired me to find a way to achieve similar effect in painting.
My attempts to paint so-called ‘anaglyphs’ led me to revise Colour Theory, especially with regard to the perception of a certain colour seen through a certain filter as well as the experience of a dual visual sensation while simultaneously looking at the crossed-over complimentary colours. “Artist Double Portrait” series is the result of such an experiment. Each portrait consists of two different images combined into a solid painted layer. In order to view them separately one should look at the painting first through the red and then through the blue filters of 3D glasses. When looking through the glasses with both eyes open, one can observe the visual transformation from the initial image into the “hidden” one and back to the initial, thus, experiencing the ambivalent visual sensation of seeing two different images at the same time. However, these visual effects just help to express the original idea of the project which came from my desire to represent an artistic personality as a complex, powerful and enigmatic figure who is always present behind his/her work and the history of its creation. Taia Galagan
10 |
Double Portrait of Pablo Picasso Oil on canvas 140x100cm “Artist’s Double Portrait” Series (2011-2014) | 11
Double Portrait of Frida Kahlo Oil on canvas 140x100cm “Artist’s Double Portrait” Series (2011-2014) 12 |
Double Portrait of Jean Michel Basquiat Oil on canvas 140x100cm “Artist’s Double Portrait” Series (2011-2014) | 13
Double Portrait of Arnulf Rainer Oil on canvas 140x100cm “Artist’s Double Portrait” Series (2011-2014) 14 |
Double Portrait of Gilbert and George Oil on canvas 140x100cm “Artist’s Double Portrait” Series (2011-2014) | 15
Double Portrait of Cindy Sherman Oil on canvas 140x100cm “Artist’s Double Portrait” Series (2011-2014) 16 |
Double Portrait of Andy Warhol Oil on canvas 140x100cm “Artist’s Double Portrait” Series (2011-2014) | 17
Double Portrait of Jeff Koons Oil on canvas 140x100cm “Artist’s Double Portrait” Series (2011-2014) 18 |
Double Portrait of Damien Hirst Oil on canvas 140x100cm “Artist’s Double Portrait” Series (2011-2014) | 19
Petro Lebedynets Born in 1956, Ukraine Lives and works Kiev, Ukraine Education Kyiv State Academy of Arts (1978-1984). Member of National Artists’ Union of Ukraine since 1990. Participant of “Our Heritage” festival in New-York (National Arts Club and MetropolitanMuseum, 2009). “Artist of the Year” prizewinner. International Art Festival in Kyiv in 1997. Prizewinner in the Art Competition dedicated to the 50th Anniversary of the UNO in Ukraine (Kyiv, 1996) Prizewinner of International Modern Art Show in Nice in 1996. Exhibitions “Reconciliation. Peter Lebedynets“. Firm Seco Group. Ichin/Czech Republic (2014) “Art In Motion“. FERRARI KIEV. Catalog. Kyiv/Ukraine (2013) “IV Fine Art Ukraine“. Museum Complex ‘Mystetskyi Arsenal’. Catalogue. Kyiv,Ukraine (2013) “Expansion of art“. Museum of modern art of Ukraine. Catalog. Kyiv, Ukraine (2012) National Arts Club. New-York, USA (2009) “Volga“ Gallery. Moscow, Russia (2009) “lnter Art Galerie Reich“. Cologne, Germany (2009) Palace of Nations. UNO office in Geneva. Geneve, Switzerland, (2008) “FANAR“ Home Gallery. Lugnorre, Switzerland (2008) lnter Art Galerie Reich. Cologne, Germany (2007) The Embassy of France in Ukraine. Kyiv, Ukraine (2002) “Heuberg 40“ Gallery. Basel, Switzerland (2000) “Art Felchlin“ Gallery. Zurich, Switzerland (1999) Museum of Russian Art in Kyiv. Kyiv,Ukraine (1999) “MR Burogalerie“. Bern, Switzerland (1999) lnter Art Galerie Reich. Cologne,Germany (1998) “Robin Ledouze“ Gallery. Paris, France (1997) Renaissance Foundation. Kyiv, Ukraine (1992) “The Sense Collection“. Kyiv, Ukraine (1991)
20 |
Museums and Collections National Fine Arts Museum of Ukraine, Kyiv, Ukraine Museum of History of Art in Vienna, Vienna, Austria Museum of Russian Art in Kyiv, Kyiv, Ukraine The Ukrainian Museum, New York, USA Zaporizhki Art Museum, Zaporizhzhya, Ukraine Brodsky Berdyansk Art Museum, Berdyansk, Ukraine Khmelnitsky Regional Art Museum, Khmelnitsky, Ukraine The Sevastopol Art Museum. Sevastopol, Ukraine Chernihiv Museum of Modern art “Plast-Art”, Chernihiv, Ukraine Local history museum of Melitopol, Melitopol, Ukraine Russian American Foundation, New York/USA Permanent Mission of Ukraine to the UN, New York, USA Embassy of France, Kyiv, Ukraine USA Embassy, Kyiv, Ukraine Brooklyn mayor`s Office,New York/USA Ministry of Culture of Ukraine, Kyiv, Ukraine Inter Art Gallery Reich, Cologne, Germany “Anixis” Gallery, Baden, Switzerland “Soviart“ Gallery, Kyiv, Ukraine “lrena“ Gallery, Kyiv, Ukraine “Martinez“ Gallery, Cannes, France “Fanar“ Gallery, Lugnorre, Switzerland “Atelier Karas“ Gallery, Kyiv, Ukraine “Tryptikh“ Gallery, Kyiv, Ukraine “Mystetska Zbirka“ Gallery, Kyiv, Ukraine National University of “Kyiv-Mohyla Academy“, Kyiv, Ukraine Gradobank collection, Kyiv, Ukraine Ukrsotsbank collection, Kyiv, Ukraine Ukrainian Interbank Currency Exchange, Kyiv, Ukraine “Oriflame“ company, Kyiv, Ukraine Private Collections Great Britain, Germany, Switzerland, USA, France, Austria, Belgium, Poland, Holland, Spain, Italy | 21
What the critics say... Anyone who has ever prised open a pot of paint and then just sat gazing into the pure, luscious pool will instinctively respond to the paintings of Petro Lebedynets. Here is an artist who is entranced by colour. He explores its shades and transparencies, its strengths and its subtleties, its harmonies and moods. Colour, as any artist, philosopher or physicist knows, is as mysterious as it is elemental. Somehow, the pulsating energy of the electromagnetic spectrum is converted via the eye’s retina to a symbolic force. Wavelengths of frequencies of around 650 nanometres, for instance, impinge on photoreceptive cones which transmit them via the nervous system to the brain’s cortex where, in a series of incredibly complex cerebral processes we come to recognise them as “red” and hence, working to interpret them by inference and memory, we come up with such concepts as passion or anger or sin. Think about it. What alchemy could be more extraordinary? The radiant energy of the universe is translated into human emotion. No wonder painters from the first cave daubers to the most progressive contemporaries have been obsessed. Lebedynets taps into that utterly ubiquitous but completely insoluble enigma that lies at the core of his profession. It was Paul Gauguin, apparently, who first opened his eyes to this fascination. Lebedynets, born in Ukraine in 1954, had a classical art training at the Kiev State Academy of Arts. He was a practiced figure painter. He had learnt about form and composition, perspective and design. But the more that he worked the more he seems to have found himself moving away from the mimetic and towards the atmospheric, away from the illustrative surface and towards the spirit inside. Gauguin’s bold Polynesian patterns imprinted themselves on his imagination. “Colour! What a deep and mysterious language!” cried Gauguin. To him it spoke “the language of dreams”. It was like music, “a matter of vibrations” and so reached “that which is most general and therefore indefinable in nature: its inner power.” It is this “inner power” that Lebedynets is seeking to speak of in canvases that range in size from small prismatic meditations to eye-flooding colour-fields. Some have titles: signposts to help the spectator at least start off in the right direction. But they can’t be followed for long. Lebedynets, like Gauguin, knows that there is no simple logical progression. The further you go, the more paths open up. The artist pursues these by instinct and practice. He learns that, though there are no more than five primaries, in combination they produce more hues and tones than can ever be counted. He finds out which are the friends of their neighbours and which are the lovers of their opposites. He discovers which are noble and which vulgar, which strong and which subdued, which calm and consoling and which stirring and exciting. Why do two colours put one next to the other sing?” asked Pablo Picasso. Lebedynets, like this great modern master, may often wonder. Neither he nor his spectators will ever find the answer. But they will certainly know when they have had the experience. Rachel Johnston, The Times 22 |
Awaiting, 2007 75x85cm Oil on canvas
| 23
Debut, 2014 85x100cm Oil on canvas
24 |
Fortune, 2014 85x100cm Oil on canvas
| 25
Light Illusion, 2014 85x100cm Oil on canvas
26 |
Summer, 2014 Oil on canvas 60x70cm
| 27
Peace of mind, 2014 Oil on canvas 75x85cm
28 |
Alla Aleksieieva Born in 1972, Ukraine Lives and works in Kyiv, Ukraine Art project “Still life 2014”, National historical architectural museum “ Kyivska fortetsia”, Kyiv/Ukraine (2014) II Bienalle of chamber abstract watercolor, Sevastopol art museum of M. P. Kroshitskogo, Sevastopol, Ukraine Abstraction & Abstraction, art hotel “Ukraine”, Sevastopol, Ukraine V Bienalle of classic abstractionism, Sevastopol art museum of M. P. Kroshitskogo, Sevastopol, Ukraine (2013) “Art Studio Voluiky” the Palace of arts, Lviv, Ukraine “Art wine fest” Chersonesus, Sevastopol, Ukraine “Still life, gallery “ Maisternya”, Kyiv, Ukraine(2012) The first pleinair of abstractionists “ Abstracted rows “ supported by foundation of art development, Kyiv, Ukraine, (2011) IV Bienalle of classic abstractionism, Sevastopol art museum of M. P. Kroshitskogo, Sevastopol, Ukraine “Industrial pleinair”, Zaporizhia art museum, Zaporizhia, Ukraine “Appearance of music in abstruction” Odessa museum of west and east art, Odessa, Ukraine “Pleinair of abstractionists” art gallery, Kamjanets-Podilskij, Ukraine
| 29
What the critics say... Painting by Alla Aleksieieva is a happy compromise between figurative and non-figurative; French fauvism and painting, with finds of Sergei Polyakov, and paintings of the “heroic period” of American abstract expressionism. In any case, we use the most contemporary vocabulary that still shows its inexhaustible possibilities. This, in any case, is her personal language and also a possibility of self-expression. But what’s interesting is bright, enthusiastic, exalted way in which the works are painted and most likely this is what determines her own genre, range and style. First of all - it’s the pictures that were painted for joy, well, for an associative comparison - because these paintings look like bunches of flowers brought from the garden into the house. This is the world of all women, and that in itself is the idea of sensuality, flowering, growth, meaningful lasting beauty. And the woman understands painting in the only way, namely direct-sensuative, so that the paint and colour for her - this is the world of the garden, its imperishable flowers. Incentive for her painting is a joy of colour detection, story composition, all possible colours in mutual combinatorics, and the plane of the canvas - a generous depth of the garden. There is peace and joy of generous being, sunny afternoon, here are vases, fruit bouquets which luxuriate on bright backgrounds and rich fabrics. Red and orange finding coolness in green and blue. Wisdom of life consists in a mating complementarity of these colours. All exists is in a dynamic, mobile, playing, but the final balance. These are the ingredients from which all the happiness, peace, home and not passing wealth of feelings consists of. Alla Aleksieieva is also remarkable for one another feature, which is inherent in her painting. There, in her paintings, sometimes both of dissimilar expression systems exist simultaneously on a single plane of the canvas - fauvism and abstract side by side, as often two systems of thinking and writing co-exist in a cultural phenomenon. As, for example, side by side in the same plane space “Rosetta Stone” of the text, created by two systems of historic fonts - Egyptian and Greek, duplicate, explain and complement each other. And only in her paintings these two systems are presented “together without confusion” - nonfigurative and figurative, serve to explain and enrich the semantics of images Painting by Alla is emphatically textured, its complex surface produces unexpected impression of a man-made geological strata and autonomous semi-precious glow. This is the way the artist affects rare culture of incarnation and understanding of the nature of colour. This is by no means a colouring surface of the canvas. Here is an enrichment, growth and strategic concentration of colour. This is her philosophy of painting. In her paintings colour acquires not only plane but vertical, like a mountain range type dimension, impressiveness and relevance. This is evident when painting throws in front of itself some piercing glow, light, heat and energy as the sun emits prominence of hot plasma into cosmic darkness This is a super-being of the colour.
30 |
It became apparent that the value of any masterpiece is largely dependent on the environment in which it exists and is perceived that there are unique values in correlation with the everyday and ordinary. Painting as an aesthetic discipline is always a unique opportunity to exit, key replacement, change of identification code - instead of daily - in absolute space of dreams and beauty. This is what in full and inherent in paintings of Alla Aleksieieva. In painting, too, there are processes of adaptation and habituation. Over time, the “modern� of the fragments, which would seem to promise a lot, grew into a broad context, now become commonplace. Vanguard also ultimately becomes homely. Now, against this context, historically established pattern began to be perceived not as a detachment of the unknown, but as a holistic education, the core, which has exceptional properties, but still contrasting the ordinary. Painting again becomes a picture. ... Paintings by Alla Aleksieieva have their aesthetic code. Here, in this works it is dominated by specific traces of human existence, the dream of a warm house and life could be guessed, connecting the present with the layers of the past, private and intimate with universally valid. Painting is a live system and tradition. Painting is a relay of beauty. Value of her aesthetic environment is determined and objectified in the experience of generations - thus the support of every cultural tradition. Dmitry Korsun
| 31
Play of colour, 2015 75x85cm Oil on canvas
32 |
Evening Still Life, 2014 85x100cm Oil on canvas
| 33
Day, 2013 90x70cm Oil on canvas
34 |
Alien, 2015 95x70cm Oil on canvas
| 35
Glow, 2015 80x90cm Oil on canvas
36 |
Orange, 2014 55x45cm Oil on canvas
| 37
Acknowledgements Curators
Anna Lavrekha Anna Phillips
www.ukrainianartgallery.co.uk Based in London but working across Britain and beyond, The Ukrainian Art Gallery specialises in contemporary and modern art in various artistic forms: painting, photography, graphics, and objects d’art. We support a selection of the most influential artists who played a vital role in the development of the Ukrainian art scene over the last twenty years. We also discover, recognize and give long-term support to a new wave of artists with huge potential. The Ukrainian Art Gallery organizes and puts on exhibitions and art projects in galleries and fairs. We are therefore ready to help to create both personal and co-operative collections of modern art. Venue
www.darrenbakergallery.co.uk
Design & Print
Alan Smith
www.kolorskemes.co.uk
38 |
PR Support
Julia Bondarenko
Translator
Vlad Adonin Nick von Schlippe
| 39
www.ukrainianartgallery.co.uk 40 |