Harmony of the Illuminated Being

Curator: Let's turn our attention to Alexander Roitburd's "Harmony of the Illuminated Being," completed in 1989, and executed using oil paint, quite heavily applied I might add. What are your initial thoughts? Editor: Goodness, it’s… unsettling, in a fascinating way. That towering figure, almost straw-like, with those grotesque smiles... It’s the stuff of fever dreams, isn't it? Makes me think of some forgotten carnival effigy. Curator: It's interesting you say "straw-like". I see the impasto technique contributing a rawness to the surface, a certain earthiness achieved through the sheer physicality of the paint. The act of applying the pigment, the labor invested, becomes quite palpable. Editor: Absolutely, you can practically feel the artist's hand wrestling with the paint. And yet, beneath that apparent roughness, there’s something…intentional. Those piercing stares – are they joyous? Manic? The expression is ambiguous. Is this some sort of commentary on post-Soviet euphoria, perhaps? Curator: I find it hard to overlook that this painting exists as both a portrait and an abstraction simultaneously. Considering Roitburd’s social circles, I can’t help but analyze how it juxtaposes the aesthetic conventions of traditional portraiture with expressionist abstraction as a way to maybe discuss individuality. Editor: You know, those 'smiles' remind me of political caricatures; overblown, toothy grins plastered on figures of authority. The more I look, the more it feels like a veiled jab at…well, someone powerful. The muted background, almost a stormy sea, only heightens the sense of unease, the looming threat. Curator: The social context of late 80’s Ukraine undeniably shaped Roitburd's artistic output. This piece exists amid a very exciting era where Ukrainian artists challenged socialist realism while still trying to process their own unique history, politics and cultural identity. Editor: I'm thinking there’s a deep-seated anxiety lurking beneath the surface – an anxiety maybe about autonomy, control, identity. It’s certainly not a harmonious image for me. The figure may be ‘illuminated’ but it’s shedding light on something…ugly. Curator: I'm so glad we lingered with this artwork. Seeing Roitburd's paintings and understanding more of their processes help contextualize an artist grappling with the tumultuous changes around them. Editor: Definitely. It's one of those pieces that burrows into your brain and stays there. Even when you’re done, those…smiles keep flashing back!