Marina Skugareva: Difference between revisions
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'''Marina Skugareva''' ({{lang-uk|Марина Вадимівна Скугарєва}}, born on [[2 March]] [[1962]] in [[Kiev]], [[Ukraine]], [[USSR]]) is a Ukrainian painter, a one of representatives of "a new Ukrainian wave". |
'''Marina Skugareva''' ({{lang-uk|Марина Вадимівна Скугарєва}}, born on [[2 March]] [[1962]] in [[Kiev]], [[Ukraine]], [[USSR]]) is a Ukrainian [[painter]], a one of representatives of [[Contemporary art|"a new Ukrainian wave"]]. |
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== Biography == |
== Biography == |
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== Work == |
== Work == |
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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" - a movement which programmatically attributes its art to a postmodernism, updating the traditional Ukrainian art by its esthetics . |
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" - a movement which programmatically attributes its art to a [[postmodernism]], updating the traditional Ukrainian art by its esthetics . |
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[[File:Marina_Skugareva._Still_life._Radio-gramophone._Марина_Скугарева._натюрморт._Радиола..jpg|thumb|right|350x550px|Still life. Radio-gramophone. 80х180cm. Oil on canvas. 2000]] |
[[File:Marina_Skugareva._Still_life._Radio-gramophone._Марина_Скугарева._натюрморт._Радиола..jpg|thumb|right|350x550px|Still life. Radio-gramophone. 80х180cm. Oil on canvas. 2000]] |
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One of the main themes of Marina's 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. |
One of the main themes of Marina's 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. |
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[[File:Marina_Skugareva._The_nudes._Poison_Ivy._Марина_Скугарева._Ню._Колючка..jpg|thumb|left|170x300px|The nudes. Poison Ivy. 160х80cm. Oil on canvas, embroidery. 1992]] |
[[File:Marina_Skugareva._The_nudes._Poison_Ivy._Марина_Скугарева._Ню._Колючка..jpg|thumb|left|170x300px|The nudes. Poison Ivy. 160х80cm. Oil on canvas, embroidery. 1992]] |
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Her early works («Nocturnal Kiev» (1988), «Der Vogel» (1990), «Poison Ivy» (1992)) 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<ref>''Stukalova K.'' Marina Skugareva // XX artists of Ukraine 2000 (End of the Century). — 2001.</ref>, by uniting embroidery and painting techniques, Marina has united Yin and Yang, the female needlework and figurative concept. |
Her early works («Nocturnal Kiev» (1988), «Der Vogel» (1990), «Poison Ivy» (1992)) 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 [[Embroidery|embroidered]] fragment – a bird, a flower, a human face. By contributing this [[Feminism|feminist]] tint to her paintings<ref>''Stukalova K.'' Marina Skugareva // XX artists of Ukraine 2000 (End of the Century). — 2001.</ref>, by uniting embroidery and painting techniques, Marina has united [[Yin and yang|Yin and Yang]], the female needlework and figurative concept. |
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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 the subjects represented in a picture are tested on reliability, that is why glasses and chairs are seemed to be more real, than portraits. |
Since the middle of 90s Marina Skugareva has been working on the project of [[Still life|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 the subjects represented in a picture are tested on reliability, that is why glasses and chairs are seemed to be more real, than portraits. |
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[[File:Marina Skugareva. Drawing. Good Housekeepers. Марина Скугарева. Хорошие домохозяйки. 9.jpg|thumb|right|150x350px|Good Housekeepers. 30х20cm. Pen on paper. 2009]] |
[[File:Marina Skugareva. Drawing. Good Housekeepers. Марина Скугарева. Хорошие домохозяйки. 9.jpg|thumb|right|150x350px|Good Housekeepers. 30х20cm. Pen on paper. 2009]] |
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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, the nature looses its ingenuous breath being limited by the format of painting. On these paintings there are no human figures, its world is deserted, pointedly passionless, and at the same time sated and multiple-valued. |
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, the nature looses its ingenuous breath being limited by the format of painting. 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 from women's Internet-chats which, being imposed on the naked figures, turn into |
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 from women's Internet-chats which, being imposed on the naked figures, turn into [[tattoo]]s<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 is gaining a victory over it with the help of the Art.<ref>''Sklyarenko G.'' Small Big World of Marina Skugareva // FINE ART. — 2009. — № 1.</ref>. |
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== Collections == |
== Collections == |
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Revision as of 19:15, 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, a 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 the painters Konstantin Reunov and Yana Bystrova. There they are living and working in the squat "Furmanny Lane", later - in 'Trehprudny Lane", where the famous "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 the fund Christoph Merian Stiftung within the bounds of the program of a cultural exchange and leave to Basel where they live until 1993. In Switzerland they are making several exhibitions with Gia Japaridze and André Clément. The swiss artists Suzette Beck, Ronald Wuthrich, Ilse Ermen become the good friends 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" - a movement which programmatically attributes its art to a postmodernism, updating the traditional Ukrainian art by its esthetics .
One of the main themes of Marina's 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 («Nocturnal Kiev» (1988), «Der Vogel» (1990), «Poison Ivy» (1992)) 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 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 another cycle of painting (2001–2003) which represents a life flared-out in episodes. The underlined fragmentariness and simplicity in the combination with bright intensity of colour attach the special 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, the nature looses its ingenuous breath being limited by the format of painting. 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 from 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 is gaining a victory over it with the help of the Art.[3].
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