French gallerist Almine Rech-Picasso opened her first space in Asia on Shanghai's historic Bund in July this year, bringing her eponymous gallery's total locations to five. The Shanghai gallery occupies roughly 4,000 square feet on the second floor of the three-storey Amber Building, a beautiful warehouse space, originally occupied by the Central...
There's an inside joke amongst the team of Ashkal Alwan, The Lebanese Association for Plastic Arts: that every time an edition of its biennial forum on cultural practices is planned, a national crisis happens. The eighth edition of Home Works was no different: it opened on 17 October amidst the most devastating wildfires that Lebanon had witnessed...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Flora Yukhnovich’s recent paintings use the language of the Rococo to examine notions of femininity, exploring its aesthetic expressions throughout art history and finding connections within contemporary popular culture.
Yukhnovich manipulates colour and form to explore the representation of the female form and the male gaze as well as the associations of the superficial, decorative and domestic present in the Rococo. As Yukhnovich states: 'I see a discrepancy between the aesthetic qualities we perceive to be feminine i.e. the beautiful, the submissive, the delicate, and my own experience of what it is to be a woman today'.
The paintings exist in a powerful state of flux as figuration gives way to abstraction and sensation, engaging with the visceral and the sublime through sensual and gestural mark-making. Harnessing the dynamism and eroticism inherent in the Rococo, Yukhnovich seeks to create active images which do not submit to the gaze but have the capacity to affect the viewer–paintings which are indicative of the legacy of the feminine but express the true agency and power of womanhood.
In Prendre son Pied (2017) Yukhnovich appropriates Jean-Honoré Fragonard’s The Swing (c.1767), abstracting and expanding its composition into a Rorschach-like triptych, its symmetry imbuing the whole with an underlying psychological tension. Fragonard’s playful but highly sexualised painting, often seen as representing the height of frivolity within the Rococo, is subverted and transformed into something more critical, the title alluding to a deeper physical experience. Likewise, in Tu vas me Faire Rougir (2017), Yukhnovich takes cues from Fragonard’s painting to create a highly charged vision, at its heart a pulsing tangle of painterly marks fluctuating between fleshy pinks and blushing reds.
Flora Yukhnovich (born 1990, UK) graduated from the City and Guilds of London Art School in 2017. Her first solo exhibition at Parafin, Sweet Spot, opened in February 2019. Recent group exhibitions include María Berrío, Caroline Walker, Flora Yukhnovich at Victoria Miro Gallery, London (2019), Telescope, curated by Nigel Cooke, at Jerwood Gallery, Hastings (2019), and Dialogues: New Paintings from London at GASK–the Gallery of the Central Bohemian Region (2018). Yukhnovich’s work is included in the Government Art Collection, UK, and the David Roberts Art Collection.
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