Above the Sleeping Cupit Painting

Roman Rembovsky was born in April 1977 in Rivne, Ukraine. After disintegration of USSR in 1993 his family was allowed to return to his mother's motherland, to Slovakia, smaller of successors of previous Czechoslovakia. Here he had taken a chance to study fine art at the university. Roman Rembovsky, a visual artist. Rembovsky studied at the Department of Painting and Media in Ján Berger's studio at the The Academy of Fine Arts and Design in Bratislava, Slovakia. He completed his doctoral degree at the Academy of Arts in Banská Bystrica, Slovakia in the studio of classical painting disciplines, Department of Painting under Prof. Ľudovít Hološka. Rembovsky is the artist with formed, well-recognised authorial style of execution and conceptual vision. With his work, he boldly enters the European artistic space, and with his original perception and interpretation of the surrounding reality, he attracts viewers and art connoisseurs. The dominant feature in Rembovky‘s paintings is the human figure with his shortcomings, suffering, anxiety and encounters, often confused and vulnerable. Although the pictorial-plastic speech of realism is observable in the outline of figural compositions, his canvases are not just images of reality, they are unexpected, sharp, sincere and sometimes even shocking plot twists of human existence. The naked models are vulnerable and emotional, depicted by the author in various philosophical-existential situations. Through the prism of his own vision, the artist transforms human emotions and pours impressions and feelings on the canvas from what is seen and experienced. In his works, everything is thought out down to the smallest detail. For the power of expression of decorative compositions, the artist uses means such as metaphor, allegory, grotesque. This approach significantly increases emotionality of the depicted actors. Rembovsky's work is characterised by his desire to understand the meaning of human existence, despair and loneliness. In the nature of deeply thought-out scenes, we always read a tragic subtext. The artist observes the whole spectrum of emotions through the prism of colour and form, light and shadow. At times, the author shocks the audience with sincere scenes of stripped models as if shouting at society, but when analyzing the content of the story, it can be understood that the artist skillfully, masterfully reveals not so much the body as the soul of the characters.