Sasha Makarska first materialized in the legendary project R.†E.†S. (–.Å.Ļ. - Revolutionary Experimental Space) in the National University “Kyiv-Mohyla Academy” Centre for Contemporary Art in the winter of 2004.
At that time Sasha played on a quotation from a Van Gogh canvas, as if she were multiplying the famous chair illuminated by a sun that looked like a fried egg.
During 2005 Makarska took part in the R.†E.†S. team art exhibits, and later on she concentrated on individual painting. Her recent exhibitions “Local Warming” (together with Mykyta Kadan, where exotic animals walking along the recognizable streets of the city of Kyiv are depicted) and “Alphabet” (where each picture is devoted to each letter), have generated the keen interest of specialists as well as the general public alike.
Sasha Makarska’s painting is lyrical, soft, and often surrealistic. One can feel her works to have been influenced by Oleh Holosiy, the best-known representative of the “Ukrainian wave” of the 1980s, who tragically died in 1993. Makarska’s canvases look as though they “came from a dream,” where no object has distinct borders, and all scenes are mysterious and unreal. Makarska creates misty-colored surfaces – the sky, the sun glints in a windowpane, the sea; sometimes she paints flowers, giving them notes of an infantile quality and soulfulness.
Jerzy Onuh, curator and director of the Polish Institute in Kyiv, in his essay for the exhibition catalogue writes: “Unarmed and helpless – that is how I felt for the first time standing in front of Sasha Makarska’s artistic declaration. The artist’s pictorial strategy shines with great naivety, although with naļve gratitude Makarska uses the practice of quotation, already well-mastered by the world of art – fragments of photos, prints, and pictures cut out from color magazines and so on. The artist never betrays her territory of painting. It may seem similar to the functioning of a digital monitor, where 72 dots per inch are sufficient for the complete reading and understanding of a picture. So there are enough of those deliberately restricted “pictorially-informational bits” in Makarska’s canvases for us to feel comfortable in the domain of classic easel painting.”
Oleg Bayshev, art director of Collection Gallery comments on Makarska’s works: “Her gift of creating beauty is the feeling of simple and recognizable human delight. The element of painting itself reigns here, when the air becomes a character. It is wrapping around us and warming us up. Sasha’s art is amazement at the world, which can be felt only in one’s childhood.”
The well-know band Revenko Music will be performing at the opening of Sasha Makarska’s project.
The exhibition will lasting until June 14th. A catalogue is available. Collection Gallery is open every day, except Monday, from 10 AM till 7 PM.
The exhibition press tour of the exhibit begins at 6:30 PM, and media representatives will be the first to see the exhibition. The official opening will take place at 7:00 PM on May 19th in Collection Gallery at 8, Pankivska St., www.collectiongallery.com.ua
For more information please contact Pillar PR-agency project manager Olesya Ostrovska: Tel. (044) 459 3437/38, mobile (067) 942 0628 Ostrovska@pillarpr.com.ua
- THE MARVELOUS SIMPLIFICATION OF LOGIC, Oleksiy Tytarenko, Art Critic
The lively boisterous youthful Collection gallery, like a true fisherman, has caught the quietest and the biggest carp. They shout a lot and like empty barrels make more noise than full ones; every one wants to be Dali-Vargola, or Savadov at least, right now, there and then. There’s just little Makarska sitting in the corner quietly and painting something. <…>
I catch myself wishing to enter Makarska’s canvas and getting lost there, in her space of happiness. She designs the space in a certain hospitable way. The foreground is left open for you to set your foot in there. Further the composition spreads gently into the heart of the picture, pushing you slightly: “There, don’t be afraid, let’s go.” And the color scheme is extremely pleasant. It is tender, “the color of bananas and lemons,” as in the song about Singapore by the well-known Russian singer Vertinsky. It seems to treasure you. There is no sharp dissonance, there is a lulling paradise. After her “Alphabet” series, the young woman has often been compared to Wittgenstein. But she has begun with what he had finished. By means of dizzily complicated syllogisms he concluded that there was more life in baby talk or in a tipsy cockney dialect than in a “Logical-philosophical Treatise.” And, just as Heidegger, by the way, in old age she began writing simply, sensibly and “alogically.” <…>
- Parallel worlds as seen by Sasha Makarska, Oleksandr Vashchenko, Art Expert
<…>As a result of different times and dimensions “meeting” on a single canvas, the chronotype of Sasha’s paintings is very complicated, although their compositions are laconical and not overloaded with detail. And the flow of time is such, that it is as if there were no movement of time at all. This, by the way, causes an interesting effect: the paintings become monumental. Sometimes they become monumental in an ironic way (for example, the canvases depicting animals).
By slowing down time the artist seems to suggest we should not make haste. And one who responds to this suggestion will have all the opportunities to feel the canvases’ energy to touch off a “chain reaction” of associations, thoughts and feelings.
In contrast to the composition, coloristic solutions in the young artist’s paintings are complex and delicate. They poeticize the reality created by her. Her canvases are free of any similarity to narration, in which the more information you want to convey, the longer the syntagmatic chain you need. What you see is much closer to original lyrical poetry. The music of words is successfully replaced by the music of paint there. <…>
- SASHA MAKARSKA’S MODEST CHARM, Oleg Sydor-Hibelynda, Art Ńritic
<…>This exhibition by Sasha Makarska –the project has been realized over the past three months and consists of about twenty (!) paintings – is devoted to life as such, its subtle signs, its inoffensive eccentricities, and trifling nasty turns. Her canvases do not resemble the dull everyday-life genre painting of the Society of Itinerant Artists (painters of the realist school in Russian art in the second half of the XIXth century). But still she does not nullify everyday life as such, although it is only a part of life, zycie, vie…hang on-life! The author is not its judge, but an interested, slightly suspicious observer. Or she even fixes some processes and provokes others. (Above all, she is known to an admirer of the muse for her paintings, however she has tried her hand at land-art “on the sand” and in RAP performances as well).<…>