Flora Yukhnovich’s glorious paintings are coded with art history. They offer glimpses of figuration in an otherwise abstract assemblage of brushstrokes, recalling the light, palette and formal considerations favoured by Rococo giants such as Jean-Honoré Fragonard and François Boucher. This strange sense of familiarity—conceived on a grand scale—asks questions about how and why we read a painting, as well as exploring the expressive materiality of paint itself.
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