The bell tower of the Near and Far Caves (Kyiv Lavra) 1993

Editor: This painting, "The bell tower of the Near and Far Caves (Kyiv Lavra)", was completed in 1993 by Yuriy Khymych, using acrylic paint. The striking angularity gives it such a strong presence. What are your first impressions? Curator: Notice how Khymych focuses on the materiality of the built environment itself. Look at the pigments! They are not blended to mimic reality, but applied rawly, highlighting the constructed nature of both the towers and the painting itself. We see the labor involved in producing these monuments and in producing this artwork. How do you see this relates to the time when the artwork was made, 1993? Editor: Well, Ukraine had just declared independence in 1991, so perhaps this bold, unblended style reflects a breaking away from tradition. Almost like declaring artistic independence too! Curator: Exactly! And consider the social context: Acrylic paint, while commercially available, became a symbol of artistic freedom and democratisation. It presented an alternative to traditional techniques, available to a wider range of artists. Also, how do you see that his composition of the religious structures interacts with those concepts of industrial production? Editor: I suppose there’s a contrast. We have the bell towers, representing history, faith and the weight of tradition… but painted with modern, almost mass-produced materials. It kind of levels the playing field between the old world and the new. Curator: Precisely. This artwork prompts us to think critically about the materials themselves. We consider not just their aesthetic qualities, but also the societal shifts and the changing dynamics of artistic production they embody. What is one thing that strikes you? Editor: Thinking about the materials and their context really brings out a new layer of meaning that I hadn't considered. It is interesting to see tradition painted with modern resources!