An international creative symposium took place in Koncha-Zaspa in Kyiv with the participation of American and Ukrainian painters. The coordinators and organizers of the project were Gale and Paul Torson along with the Irena Gallery represented by its director, Iryna Osadcha. This was the second such action and, judging by common sentiments of its participators and, more importantly, sponsors, one can make rather optimistic prognoses for its future. This is seen as the main value of the symposium, which gradually gains some cyclic features counter to the common tendency to hold one-time actions. For ten days a surprisingly friendly, tender, and calm atmosphere reigned under the caressing May sunshine at the roomy sun parlor of the small Prolisok Hotel and in its environs. The artist who had literally broken loose from the iron claws of the city’s turmoil and closed spaces of their studios plunged into the creative communication process, involving and attracting them with incredible power. This was probably the most valuable part of the symposium.
In the early twentieth century Savva Mamontov’s circle, the World of Arts, Blue Rose, and Jack of Diamonds groups, far as their aesthetic platforms were from each other, existed precisely as centers for creative communication. In the eighties there was also plenty of creative community supported by the Artists Union. And it is obvious that the slowing of this process in the nineties affected the character of the artistic movement.
The most vivid parts of the feast of creative communication were joint works on silk and canvas created literally the last day. They became accents and collective creative portraits at the closing exhibition. Summing up the symposium, which fancifully combined sculpture, painting, graphics, batik, ceramics, and photography, it became obvious that a considered joint program is needed.
