|
|
Sveta Yavorsky
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.Once she had reached this point of zero, she decided to turn around and explore our emotions, affects and desires. Seeking inspiration for this new direction, she travelled to Egypt, living there for several months to study ancient mythology, legends, history, artwork and artefacts. She is currently working on a major project reimagining the Egyptian pantheon, drawn to the multiplicity present there, seeing the collection of Gods as a kind of alphabet, which expresses the nuances and shades of human experience, linking every god to a particular set of human affects and desires.It will be a series of forty three images in oil and colour print. The central concept behind this exhibition came from the artist’s study of aged Italian frescoes. An intangible quality is given to the frescoes as the colours fade and the surface texture is altered through natural decay. This is a quality that the original or restored fresco lacks; that of time imprinted onto the image. The ruined parts add uncertainty to the image, making it more suggestive.The exhibition seeks to capture this elusive, not simply by distorting or aging a finished painting, but by demonstrating a contemporary technique that can produce a comparative impression. The artist has experimented with multiple layers of patterning, perforation and texture that simultaneously stress the surface of the painting and dissolve it. Each painting appears to have several surfaces, which hang over one another like gossamer curtains, while the faded, mysterious figures at the centre unite these diverse elements into a single, ethereal composition. ...call to mind your garmentshot with gold call to mind the pearl for which you were sent on the mission to Egypt your name has been called to the book of life... Anton Yavorsky Exhibitions:
|
...Man unites in himself the two modes,