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Sveta Yavorsky studied art and architecture at the Moscow University of Architecture, and at the private studios of her uncle and mother, who were both professional artists, skilled in the crafting of murals and mosaics. Initially architecture had a profound impact on her work, as she began to use geometrical shapes and patterns, which surrounded and blended with the surreal and floating figures that formed the centrepiece of the works.

After graduating from university, she took part in several exhibitions both in Moscow and abroad, eventually moving to London permanently. With the cultural change came a new direction in her work. Setting aside the architectural shapes, she started to concentrate more on the interaction of colours in her paintings, and the creation of a dynamic inner movement within the static composition of her figures. She carefully studied Kandinsky’s theory of colour, and developed from this her own idea of how colours and their various combinations affect the psyche.

The cultural transition from Russia to England also engendered an interest in identity and human existence, giving rise to a body of work that explored the way in which we form notions of ourselves. The result of her research was a series of figures and heads floating in space, almost lacking any individual characteristics, which suggested the idea that there is a neutrality present behind human existence. The contrast between inner and outside force keeps them in balance, time is paused by the moment of transformation. The figures are both striving forward and holding still, they are of both this world and another simultaneously. Frozen movement, the moment of time before the beginning of the motion.


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