Marina Skugareva: Difference between revisions
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On these paintings there are no human figures, its world is deserted, pointedly passionless, and at the same time sated and multiple-valued. |
On these paintings there are no human figures, its world is deserted, pointedly passionless, and at the same time sated and multiple-valued. |
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In 2007 Marina Skugareva presents the project of drawings «Good Housekeepers». It develops the subject of a naked figure in space, detecting new accents. In the majority of drawings Marina uses texts of women's Internet-chats which, being imposed on the naked figures, turn into tattoos |
In 2007 Marina Skugareva presents the project of drawings «Good Housekeepers». It develops the subject of a naked figure in space, detecting new accents. In the majority of drawings Marina uses texts of women's Internet-chats which, being imposed on the naked figures, turn into tattoos<ref>''Tekila A.'' The dance of the good housekeepers // Symbol. — 2008. — № 1.</ref>. The author's speculative strategy becomes comprehensible throught the construction of drawings. It is the combination of the image and the text for "blackouting" the substance and the discrepancy. Texts represent the infinite women's conversations and images fix the forms of a human movement and "stopped" emotions. For the artiste the subject is just a springboard, she is not poeticizing the daily routine, but gaining a victory over it with the help of the Art. |
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== Collections == |
== Collections == |
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Revision as of 18:30, 7 January 2010
Date of birth: 2 March 1962
Place of birth: Kiev, USSR
Occupation: painter
Marina Skugareva (Ukrainian: Марина Вадимівна Скугарєва, born on 2 March 1962 in Kiev, Ukraine, USSR) is a Ukrainian painter, one of representatives of "a new Ukrainian wave».
Biography
Marina was born in a family of journalist Olga Garitskaya and architect Vadim Skugarev, the incumbent of the position of the head of a chair of graphic arts at the Dagestan state teacher training institute (Makhachkala, Dagestan ASSR) since 1973.
In 1974 Marina enters in Kiev Republican Art School. In 1981 she graduates from the Dzhemal Dagestan art school.
In 1982 - 1988 Marina studies at the Lvov state institute of decorative and applied arts (the department of the art textiles).
In 1988 she marries the painter Oleg Tistol and leaves to Moscow with him and painters Konstantin Reunov and Yana Bystrova. There they are living and working in the squat "Furmanny Lane" and later - in 'Trehprudny Lane", where the great "Gallery at Trehprudny Lane" was situated, founded by Konstantin Reunov and Avdey Ter-Oganyan.
In May, 1992 Marina Skugareva and Oleg Tistol receive the grants of fund Christoph Merian Stiftung within the bounds of the program of a cultural exchange and leave to Basel where live until 1993. There they are making several exhibitions with Gia Japaridze and André Clément. The swiss artists Suzette Beck, Ronald Wuthrich, Ilse Ermen become the good frineds of Marina and later even the heroes of her paintings.
Since 1993 Marina Skugareva lives and works in Kiev.
Work
Having taken the place on a domestic art scene in the late eighties, Marina Skugareva becomes the constant participant of exhibitions of the modern art in Kiev, Moscow, Warsaw, Basel, Berlin, Odense. Her works are the part of a "new wave" which programmatically attributed its art to a postmodernism, updating by its esthetics the traditional Ukrainian art.
One of the main themes of her art is a naked human figure figure in the space. For the artist this theme emerges from traditions of an expressionism, but Marina's expressions are not only the open emotions, but also a manner of vision, a search of "another point of view», a way of preservation of "the real present life» in space of the art devastated by infinite citations and reproduction.
Her early works () are close to transvanguard painting, in the late ones the expressivity departs, opening up the flood-gates of an accuracy of the statement and a rigid observation. There is a characteristic technique which appears already in M.Skugareva's first picturesque works – the embroidered fragment – a bird, a flower, a human face. By contributing this feminist tint to her paintings[1], by uniting embroidery and painting techniques, Marina has united Yin and Yang, the female needlework and figurative concept.
Since the middle of 90s Marina Skugareva has been working on the project of still-lifes — "Tables". The painter transforms the oblong canvases ("Ronald", "Radio-gramophone", «Evening messages»), cut across by the long near-empty tables with the portraits of characters fixed on a conditional wall above, into the collision of several realities: the interior with the painting is continued in its-self and and the subjects represented in a picture are tested on reliability, that is why glasses and chairs are seemed to be more real, than portraits.
"Fragments" is the name of the another cycle of painting (2001–2003) which represents a life developed in episodes. The underlined fragmentariness and simplicity in the combination with bright intensity of colour attach especial semantic significance and free figurative breath to these works. Here the artist accents the value of "a personal history».
The strange space, where the reality is outlined by a sight of the artist, defines an originality of projects "Landscapes" and "Roads" (2004-2009). Compositions are constructed with a principle of «a sight from car window» or sometimes from a conditional top point of vision. As the consequence of that and of the distance which appears between the nature and the person who observes it, being limited by the format of painting, the nature lostes its ingenuous breath. On these paintings there are no human figures, its world is deserted, pointedly passionless, and at the same time sated and multiple-valued.
In 2007 Marina Skugareva presents the project of drawings «Good Housekeepers». It develops the subject of a naked figure in space, detecting new accents. In the majority of drawings Marina uses texts of women's Internet-chats which, being imposed on the naked figures, turn into tattoos[2]. The author's speculative strategy becomes comprehensible throught the construction of drawings. It is the combination of the image and the text for "blackouting" the substance and the discrepancy. Texts represent the infinite women's conversations and images fix the forms of a human movement and "stopped" emotions. For the artiste the subject is just a springboard, she is not poeticizing the daily routine, but gaining a victory over it with the help of the Art.
Collections
- The art museum of Zaporozhye, Ukraine
- Moscow House of Photography, Russia
- SK Johnson Kiev Corp., Ukraine
- Municipal gallery of Odense, Denmark
- Fund Christoph Merian Stiftung, Basel, Switzerland
Awards
- 1995. Ukraine. The winner of «Great Ukrainian Women Artist».
Bibliography
- G. Sklyarenko. New Ukrainian Wave. (Нова українська хвиля ) // Українська нова хвиля.-2009
- О.Мартинюк. Nightingale and rose. (Соловей і троянда) // FINE ART.- 2009.- №3
- XX artists of Ukraine 2000 (End of the Century). - 2001