Nadia NIKIFOROVA: He gives me a sentimental education

Kyivites got to see The Epistle series of paintings. It is a message of sorts from Taras Shevchenko that the artist has managed to discern in the poet’s works and offered to the future generations.

The series includes pieces that had already been exhibited at various exhibition venues in Cherkasy region and throughout Ukraine. An example of these is the monumental portrait of Shevchenko which consists of 144 “bricks” and is framed with ritual towels which are, contrary to the tradition, painted, and not embroidered. Head of the arts sector at the Shevchenko National Preserve Svitlana Bry­zhyt­ska, Ph.D. (History), says that Nikiforova was induced to create Shev­chenko’s portrait by the constant feeling of his presence nearby, his towering figure, characters from his literary works, especially those who embody highest moral virtues. The artist has aptly defined his role as follows: “...He suggested to me the correct decisions in various situations and gave me a sentimental education.”

“The artist proves once again, in spite of attacks on Shevchenko in the press that have become worse recently, that Shevchenko as an ico­nic figure constitutes a spiritual value for those who cherish notions such as tolerance, spirituality, historical memory, continuity of ge­ne­rations, respect for the past, and love for the motherland, the latter meaning birthplace as well as the phenomenon of characteristic national, cultural, and historical features. Artistic embodiment of the Kob­zar’s image fills the viewer with good feelings. As for me, this is the highest praise for any work of art,” Bry­zhytska thinks.

The exhibition includes triptych The Woman’s Fate that is already known to the artist’s Cherkasy admirers and includes the works that are based on Shevchenko’s paintings St. Mary, Catherine, and Handmaid. The artist also presented other works of her at Ukrainian Culture Foundation, which included another interesting triptych Hai­da­maks. Nikiforova told us: “I had painted a series of works called The Shadow Paintings once, but those were only feeble attempts, while now I have used this technique to a greater extent. My paintings are made up of small parts, and one theme is being transformed into another within the same work, as fo­rest sprouts amid the flowers, and the forest itself has its roots in the snow, and so on. This is an interesting attempt. Of course, it should be tested by distance.”