Katya zvereva

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Katya Zvereva was born in Saint Petersburg, Russia in In printmaking, she has developed her own unique technique based on monotypes mixed with drawing, which she often prints on multiple layers of fabric or hand-made paper. She creates large-scale installations based on analog woodcuts, which are printed by hand on a multitude of surfaces. Petersburg and can be found in many private art collections in the United States, France, Germany, and Russia. View related Artists. This website uses cookies This site uses cookies to help make it more useful to you. Please contact us to find out more about our Cookie Policy.

Katya zvereva

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There is being; but by what name to call it, it is neither a dream, nor a vigil, it lies somewhere in between them, and in a person with it, understanding borders on madness. In Reciprocity and Ruination, Katya Zvevereva speaks about the cycle of existence, from one to many. From person to crowd. Visualizing the desire for life and destruction as an inherent part of human evolution. The rise of human existence and the cyclical nature of mistakes and horrors. Lessons from our past and unwillingness to learn from mankind's history. Pieces were inspired by the perpetual conflict of Russian aggression against Ukraine and the constant conflicts happening in the world. In a world of tangle, innocence and naivety remain a template of hope. The simplicity of color and the form of these portraits against a black and white rhythm of emotion epitomized by the artist.

Katya zvereva

Like her predecessors, Zvereva explores the female body and grapples with issues of gender and bodily autonomy, though she also ventures into the cerebral to consider the way we perceive reality. What differentiates this promising artist is her perspective; Zvereva is a Russian artist living in New York City, and her work investigates the tiniest nuances of American culture and behavior. She is also remarkably versatile when it comes to material, expressing these observations in her paintings, sculptures, drawings, and woodcuts. But they are decidedly less abstract, drawing their power not from dynamic stylizations of human features, the way Kirchner and Rotluff achieved their masterpieces, but from truthfulness. When I ask what separates her reality from the reality everyone else experiences, she explains that everyone constructs their own visual truth, hence the difficulty of forging connections that resonate as universally true. But Zvereva accomplishes this in Shirley through a single eye, lidding it heavily and imbuing its pupil with a penetrating stare. It is a stare that everyone can feel regardless of the nature of their personal reality. Pain, longing, hope and peace comingle, and race down her cheeks in stripes of red paint like crimson rain. The artist explains this choice as a representation of embarrassment, the sensation we feel as we attempt to behave normally but are keenly aware that something about ourselves is slightly off-kilter. Zvereva also says that the sensation of uncertainty resides within the work, the kind of confusion that renders everything around a person oddly unreal.

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Katya Zvereva was born in Saint Petersburg, Russia in In printmaking, she has developed her own unique technique based on monotypes mixed with drawing, which she often prints on multiple layers of fabric or hand-made paper.

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