Graphic Arts of Lyudmila Bruyevych from the 2000s–2010s: The Geometrization of the Images and Encoding of the Meanings

Abstract

Female graphic artist Lyudmila Bruyevych is one of the most famous and popular domestic artist. In her graphic art one can trace the influence of folk and naïve art traditions, as well as the Ukrainian baroque, although at same time, it is an organic natural, and quite modern phenomenon. The artist`s favourite technique is etching; besides that, she also draws on watercolours. Already in her early works (Night; A Girl with a Puppy; A Capricious Lady (all — in 1991); A Merry Song; An Evening Song; Anguish (all — in 1992)), an original authorial style was formed, which combines epic and grotesque, poeticims and symbolism. Wherein an images is almost always supplemented by a calligraphic text, sometime a quite large one. L. Bruyevych often refers to biblical images, but usually interprent them in a very original and unexpected way (The Holy Family (1991); There was a Throne in Heaven with SomeoneSitting on It; The Seventh Angel; The Whore of Babylon (all — in 1992); The Fourth Beast Was Like a Flying Eagle (1993) and other). In the mid 1990s, the female artist began to illuminate her etching, using for this only four (sometimes two) watercolour paints (colours: alizarin crimson, emeradl green, ochre and gold). This added brightness and decorativeness to her works and strengthened their sybolic richness. In 1994, The Flower of Love was created, aswell as the series Tranquility, which consists of five sheets (Cats; Mermaid; Three Fishes; Fish;and Vase). They can be considered the most characteristic works of L. Bruyevych. At the same time, in the artist`s subsequent etchings (Night Beast; Round Dance of Grass Snakes, orInfinity; A Prehistoric Animal, or Dragon (all — 1997)), the tendecy to geometrization gradually is tensified. The geometrization and conditional character of the images are strengthened by degrees, but unceasingly. At the same time their content depth is increased and concentrated: Course of Time, or Ukrainian Pyramids. Psychoelevation of the Soul (2004), Ukrainian Pyramid (2005), Geometry of Love (2012), Language of Land (2014, diptych), Mallow and Grape (2016, diptych). It`s affirms the desire of the artist to unite and synthesiza different styles, inherent for her graphic arts. All these facts can denote the beginning of new, unusually interesting, period in the creative work of L. Bruyevych.