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Exhibition in Paris
Exhibition in Paris
Exhibition in Paris

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Rome Painting

Vladislava Yakovenko

Slovakia

Painting, Oil on Canvas

Size: 23.6 W x 31.5 H x 2 D in

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Originally listed for $2,550

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ABOUT THE ARTWORK

One is not born, but rather becomes, a woman The Second Sex by Simone de Beauvoir Although we have already lived 18 years in the 21 century, but the idea of “female” is still often represented in the context of juxtaposing male/female. Gender is perceived as a social construct based on a bunch of certain qualities. And your identity is evaluated according with the relevance to those qualities. There is even a slightly disregarding term – female art, which is usually associated with something unserious, lacking of depth and universality. The light form of art, so to say. That is why it’s important to keep on putting the ‘female’ issue in art in the limelight, discussing it from different perspectives. Such thoughts inspired the Ukrainian artist Vladislava Yakovenko to start this project – “Female Faces of Big Cities.” The exhibition is dedicated to the variety of ways the feminine manifests itself in contemporary world, the challenges She faces, as well as numerous forms She takes. Femininity is commonly associated with vulnerability, but the artist aspires to show the powerful creative potential of women, representing them as sources of the cultural impulse that has been changing the history of humankind throughout all the epochs. The paintings contain the reference to the traditions of the early 20th century Avant-garde (Expressionism, Cubism). Avant-garde itself was one of the most ‘female’ periods in art history – it’s enough to mention the names of Sonia Delaunay, Nataliya Goncharova or Frida Kahlo. That’s why its visual language, combined with the elements of both realism and decorativeness, resonates most with the theme of the project. It’s important to note that Vladislava doesn’t place the feminist context into the core of the show – it’s present as the background, not as a catchy message, but as a vantage point in perception. Her canvases feature not a stereotypical archetype of ‘femininity’, but actual women – poetical, lyrical, strong, weak, independent, brave, insecure. Different but intergral, and changing the world with that integrity. Oleksandra Osadcha, art critic

DETAILS AND DIMENSIONS
Painting:

Oil on Canvas

Original:

One-of-a-kind Artwork

Size:

23.6 W x 31.5 H x 2 D in

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METHAMORPHOSES OF AVANT-GARDE: VLADISLAVA IAKOVENKO In her works, young Ukrainian artist Vladislava Iakovenko aims to find balance between these two methods. Being unsatisfied with mimetic and narrative character of Academic art, she follows the pass of avant-gardists of 1910s – 1920s. It was exactly the time when painting looked for the answer concerning the essence and uniqueness of its own language. This led to the radical shift from the plot to the visual qualities of a canvas: masters were enchanted with the absolute self-sufficiency of compositions, texture, and colour. They rejected the attempts of objective depiction of the reality after realizing the value of their own worldview. Vladislava herself points out the connection of her pieces with Suprematism, though they are closer to the aesthetics of Orphism, which had originated in French art in 1910s. Despite inheriting the principles of geometrization of forms and exaggerated flatness of image, typical for the oeuvre of Malevich and his followers, the artist pays main attention to the poetics of colour. As well as the orphists, she ‘sculpts’ space and varies its depth and density through hues, its intensity and combinations. “Simultaneous contrast is the most up-to-date honey of this technique in this field. Simultaneous contrast is visible depth – Reality, Form, construction, representation. Depth is the new inspiration,” as Robert Delaunay wrote in his notes, the founder of Orphism. Vladislava applies the mentioned methods of Abstract painting working on figurative compositions. She ‘grows’ a sort of painting crystal, mosaic of pure forms and lines that blends into familiar images – landscape, portrait, nude. Complicated structural and colouristic scheme adds the artist’s pieces certain dynamism, typical for our days; at the same time, they seem to remain in timelessness. Yet, in some of the paintings, the traces of reality become rather tangible. The events of recent years on the Motherland that has affected Vladislava’s life, prompted her to create several collage works dedicated to the Revolution of Dignity and war on the East of Ukraine. Painting was combined with photography and newspaper clippings that allow depicting tension, deep dramatism of the situation and personal experience of the author. Doubtlessly, Vladislava Iakovenko is still searching for her creative identity, however she has already made herself known.

Artist Recognition
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