Marina Skugareva
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, by uniting embroidery and painting techniques, Marina has united Yin and Yang, the female needlework and figurative concept.
||| From the middle of 1990th years Marina Skugareva works over the project of still-lifes — "Tables". The extended cloths ("Ronald", "Radio-gramophone", «Evening messages»), cut across long thin tables over which on a conditional wall portraits of characters are fixed, it transforms into collision of several realities: the interior where the picture hangs, proceeds in her, and the subjects represented in a picture are tested on reliability and consequently glasses and chairs here are more real, than portraits. "Fragments" — the name of one of cycles of its pictures (2001–2003) — a life developed in episodes. The underlined fragmentariness and simplicity of motive in connection with bright intensity of colour attach to these works especial semantic significance and free figurative breath. Here the artist accents value of "a personal history». The strange space in which the validity is outlined by a sight of the artist, defines an originality of projects "Landscapes" and "are expensive" (2004-2009). Compositions are constructed by a principle «a sight of a car window», sometimes from a conditional top point of the review and consequently between the nature and the person who observes it, there is a distance which deprives of its direct breath, limiting to a picture format. On these cloths there are no human figures, their world deserted, is underlined passionless, and at the same time sated and multiple-valued.
In 2007 Marina Skugareva represents the project of drawings «Good Housewives». Сюжетно it continues a theme of the bared figure in space, placing in it new accents. In the majority of drawings Marina uses texts of female Internet chats which, being imposed on the bared figures, turn to tattoos [2]. In construction of drawings speculative strategy of the author is visible: combination of the image and the text for "blackout" of the maintenance, discrepancy between them. In texts infinite female conversations last, and images fix forms of human movement and "the stopped" emotions. The artist only makes a start from subject motive, without poeticizing daily occurrence, and winning its way of art [3] more likely.
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