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View In My Room
Canvas
14 x 21 in ($154)
White Canvas
White ($150)
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Diana After a few years of working on the “Gorilla’s laughter” , “Abstract Portraits”, “Sex and Other Communications”, as well as many extracurricular works, Vitaliy Kravec now more and more prefers quick emotional drawings. Somewhere between automatism, abstract art and calligraphy. The withdrawal of physicality, human and animal subjects inspires the author in his most recent works. According to Kravec, the most interesting and difficult way to work is to use minimal but precise expression. For example, if academic painting is comparable to the music of a symphony orchestra, then these drawings most closely resemble a sorcerer playing with a single string. Blind monotype it’s not a technique, rather an exercise invented by Vitaliy Kravec, immersing automatism and mediumism into his works. Exposing the artist's “store" and his experiments is a well-known curatorial practice, it works with classical artists when all known "hits” are cataloged & seen, unknown sketches will start to appear from the “studio stores" & find their way into galleries. Here is another way - monotype, made blindly, has no chance of reproduction in other technic, and these drawings are not sketches or preparatory works. These are self-contained printouts in a single copy. The Diana Project are Vitaliy Kravec reflections on some aspects of human identity: sexuality, loneliness, aggression ... The project attempts to develop an intuitive and associative perception. Nowadays in the world of total communication, with so many words, images, sounds and other information, there is a need for these media to be minimised - decreasing form without loosing sense. In the series “Diana”, Vitaliy Kravec seek’s to find some minimised media-tool in dynamic drawing.
2020
Giclee on Canvas
14 W x 21 H x 1.25 D in
15.75 W x 22.75 H x 1.25 D in
White
White Canvas
Yes
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Ukraine
All of my work starts with some form or plot that provides the direction of drawing. By the end of the work nothing will remain from the primary idea, it will disappear as my work develops fresh layers & new directions. This how I found my technique of layering. I don’t use a preliminary sketch, so my work can develop in 2 ways. Either quick a calligraphic sketch that I compare to a shaman playing on one string, or sophisticated pictorial art with plenty of layers and textures resembling a symphonic orchestra. For me for sure, it all “music” without words. In my works I try to tell the story, but intentionally avoid the narrative. It’s more interesting to play with associations than just matter of factly illustrate my idea or experience. Therefore my paintings should be observed for what they are rather than what they could mean. I am able & will often combine techniques and materials. Sometimes I invent paints and canvas, trying to avoid material limitations in my creations. 
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