Voloshyn Gallery, Kiev
The watercolor paintings of Maria Sulymenko represented in The Glass World of People and Things… are comprised both simplicity and laconism, and at the same time, something that holds an audience spellbound. Everything that happens like slow-motion or frozen in space pictures, and is immersed in an atmosphere of transparent grey air.
The artist says that she has neither set special goals, nor invented the concepts; her artworks are not just about what she sees, but also about the way she sees the world. First of all, they are full of aspiration to convey this atmosphere to the visitor. “I always love those “office” premises, where everything is strange, mysterious, and empty, where their own rituals, hierarchies are taken place there. What is happening there? What are they doing there? Probably they laze away their time or perhaps plan to capture the universe. I have the reverential feelings to my characters though they are not the central ones; they aren’t the particular real people, but rather impersonal ones, however, it's a pleasure for me to think that they have their private lives outside the picture,” says Sulymenko.
The author delicately and perfectly collect all the details, but at the same time, the viewer keeps the sense of improvisation and ease. The characters of the Maria’s paintings are out of the peculiar era, and placed in a rather nominally, sometimes naive, designated environment, images of which refer to the subconscious, rather than explicit realm. In this absurdity atmosphere there is happening something a very existential. One can ask, whether the characters of Sulymenko’s paintings are the ordinary people, who are floating downstream, or they are nonconformists, who deliberately chose solitude?
The artist and sculptor Zhanna Kadyrova works in the tradition of site-specific art, creating objects, installations, mosaics and sculpture. Urban studies are a prominent theme in her works. According to the artist, it gives the opportunity to interact with a city all the time getting know it better and better. Quite often her projects are in crucial dependency on outer environment that is physical space as well as social context.
Kadyrova’s Unapparent Shapes, featured at the gallery’s booth, explores how mostly invisible, ephemeral phenomena transform into their opposites: tangible shapes that clutter the space. Kadyrova creates physical embodiments for the play of light and shadow, moulding them in cement. We seldom register the lamps that emit light waves or cast shadows. And yet, their invisibility is illusory: in reality, these mechanisms intrude into our lives, and their existence has weighty consequences that range from the positive (lighting dark spaces) to the sinister (intruding upon private lives). Some objects of “unapparent shape” are created within the exhibition space to fit its architectural peculiarities and to better underscore the seeming invisibility of light and shadows.
Zhanna Kadyrova was born in 1981 in the town of Brovary, just outside Kyiv, Ukraine. She graduated from the Department of Sculpture of the T.H. Shevchenko State Comprehensive Art School (Kyiv) in 1999. She juggernauted multiple art groups, exhibitions and performances, including R.E.P. (Ukrainian abbreviation for Revolutionary Experimental Space), Pinoplast punk band, 8 = 8, The Conquered City, The City of Victors, Neither the Jury Nor the Prize, and New History (at the Kharkiv Museum of Fine Arts). She curates exhibitions at LabGarage (Kyiv). In 2009, she created The Monument to a New Monument in the town of Sharhorod, Ukraine. She was awarded the special PinchukArtCentre prize in 2011, the Sergey Kuryokhin Prize for her Shape of Light (in Public Art category) in April 2012, the Kazimir Malevich Prize in December 2012, and the PinchukArtCentre Main Prize in 2013. She participated in many international exhibitions, including the 5th Moscow Biennale, the Ukrainian pavilion at the 55th Venice Biennale, Nouvelles Vagues, Palais de Tokyo (Paris, 2013). In 2014, she joined the art residence of the Baró Galeria (São Paulo, Brazil). In 2016, she took part in an exhibition at Centre Georges Pompidou (Paris). The artist lives and works in Kyiv, Ukraine.
Anastasiia Podervianska’s textile Light My Fire from the Country-Horror series blends several divergent aesthetic programs, including cosmopolitan urbanism and folkloric motifs. The intersection of Ukrainian decorative art and ethno-romanticism with comics elements produces a space filled with symbols and riddles that expands our interpretationof reality, lending the work cross-cultural importance and helping it to transcend archaic traditionalist readings. The work depicts Eve tempted by the paradise apple. She is surrounded by Biblical symbols, including Adam’s rib and symbolic
representations of passions and sins. The painting is framed by short quotes from Jim Morrison’s song for the band The Doors, embroidered with a golden thread.
Podervianska was born in 1978 in Kyiv, Ukraine, in the family of artists. She graduated from the T.H. Shevchenko State Comprehensive Art School in 1996, and from the Department of Monumental Art of the National Academy of Fine Arts and Architecture (advisor: Academy of Arts member Mykola Storozhenko) in 2002. A member of the National Union of Artists of Ukraine since 2002. Podervianska’s works can be found in the Eurolab Collection, the Museum of Contemporary Art of Ukraine, as well as in private collections in Ukraine, Poland, Germany, Macedonia, and the USA. The artist actively participates in shows and residencies. She lives and works in Kyiv, Ukraine.