In national schools of art there have always been innovative individuals who have raised the creative bar and expanded stylistic horizons. Ahead of their times in many respects, they have formed groups of like-minded artists and followers and, brimming with energy and inspiration, defined the creative climate of their period.
One such association of artists, called Zhyvopysny zapovidnyk (Art Preserve), appeared in Ukraine in the mid-1990s. This was a period when stereotypes were being destroyed and there was no longer any ideological pressure; a period of free creative quests and daring innovations. After long decades of stagnation Ukrainian art was finally beginning to cast off the gray monotony of Socialist Realism and demonstrate its European standards.
Today these artists are traditionally referred to as the “patriarchs and pillars of contemporary Ukrainian art.” First and foremost, they became famous for their decisive rejection of all obligatory genres and their adamant refusal to depict concrete subjects. The exhibit of works by Anatolii Kryvolap, which recently opened at the Russian Art Museum in Kyiv, offers art lovers an opportunity to learn about a key figure of contemporary Ukrainian art.
The very title of the exhibit — “Ukrainian Motif: Quietude” — indicates the nature of the latest stage in Kryvolap’s creativity. According to the artist, his work “is the landscape of the new generation, which is rooted in the modern perception of signs and symbols that allow the viewer to instantly comprehend the theme.”
The bright colors and energy of Kryvolap’s canvases are overwhelming. His colors explode, producing a special kind of radiance. As soon as the viewer starts exploring his exhibit, he finds himself literally snatched away from the daily routine. His paintings are chimerical, full of intrigue, with sudden resolutions and effects — such is the language of the avant-garde. Kryvolap is a highly respected painter, and art galleries often seek out this “loner” from Yahotyn.
How did the Art Preserve group emerge?
The post-modern group, the “Paris Commune,” whose members used color as supplementary material, emerged in 1991-92, when Ukrainian art was on a quest. We, who loved painting and to whom paints were its language, didn’t like this. We felt that quality painting could disappear, so we decided to unite. It was Tyberii Silvashi’s idea. At first there were eight of us. Then one of the artists left for the States and another, for Germany. Oleksandr Babak switched to producing art installations, so there are five of us at the Preserve now. But this group of five artists makes a complete set in terms of colors: some of us prefer working in white, others in black, and others use a range of colors or intermediate ones.
Was it hard to win recognition?
In art you must proceed by understanding that failure may await you, as well as incomprehension, even contempt. We know from the history of art that this has happened to many painters. If you embark on the road of creativity, you must have a certain reserve inside of you in order not to become too emotional while following your chosen path.
What do you rely on in your creative process?
Intuition. I believe that intuition is the main creative factor, at least for me. Our brains are like computers. You get out of it what you input. Scholars are an exception. As for intuition, it should be remembered that the emotions that have accumulated over the millions of years of mankind’s existence are handed down. That is why immersing myself in intuition is the main thing. I pull out everything from there. It is very interesting and sometimes even amazes me.
Where do you get your inspiration, and what kind of viewers do your paintings target?
I live in a house outside the city, where there is a big lake and peace and quiet. The natural surroundings are simply bewitching. This is where my diversity of colors and everything that I feel comes from; my feelings and senses come alive there. As an artist, I must convey what I feel. Human psychology is so complex and varied in terms of preparation and perception that I do not have a certain type of viewer in mind. For me it is very important that professionals judge my works because painting and art in general have always constituted an authoritarian system. I believe that the best artists have almost always been wrong when they have called a certain artist great.
What is your understanding of harmony?
It’s like in that old Jewish toast: “May our possibilities match our desires!”
What are the specific features of the current art market in Ukraine?
The art market has become quite first-rate and developed. A mere three years ago I didn’t have a single buyer in Ukraine. Now most of my works are purchased in this country. I see this as a good sign, a sign of progress. I think this will help to advance Ukrainian art in general. It is very important for those who buy works by Ukrainian artists to comprehend their value. Art has its version in every new generation. Every generation sees everything according to its own perception, and what is most important is that we cannot know what a generation will accept as the starting point, what it will proceed from, what means of expressing its positions it will choose. This is impossible to predict.
