The Irene Gallery features Kyiv artist Natalia Hronska’s personal display made up of silks and textile installations.
The author chose an epigraph, borrowing from The Revelation of St. John the Divine: And I saw another angel fly in the midst of heaven, having the everlasting gospel to preach unto them that dwell on the earth, and to every nation, and kindred, and tongue, and people, saying with a loud voice, Fear God, and give glory to him; for the hour of his judgment is come: and worship him that made heaven, and earth, and the sea, and the fountains of waters. She titled the exhibit Apocrypha. Quite honestly, the association is very hard to define. Perhaps she tried to explain that her works are an apocryphal (not recognized officially — or individually in this case, if you will) interpretation of the book of Revelation which, incidentally, long balanced on the border of apocrypha.
Indeed, the Kyiv artist’s interpretation is quite unusual. The severe symbolism of Revelation turns into colorful whimsical batiks saturated with what can be described as unfriendly bonhomie, perhaps hidden irony. The numerous angels are ready not only to blow their trumpets but even give you a wink, or such is the overall impression you cannot escape. But of course, such a shocking impression will overtake you only if you begin to explore the exhibit by reading the epigraph quoted above.
Also, as befits things apocryphal, Natalia Hronska reveals not so much existing symbols as offers her own. Among them one finds unsophisticated and familiar images, as though borrowed from children’s drawings. This is primarily true of the numerous angels soaring heavily over the earth. There are, however, other symbols assuming the viewer’s vast knowledge in a variety of domains. And perhaps the artist’s own explanations, as in her tree formed by intertwined bodies animals, humans, and angels.
