Composition 1981

Curator: Well, here we have Hryhorii Havrylenko's "Composition" from 1981. It resides in a private collection. Editor: It’s strikingly vibrant, a delightful play of colors. The shapes—the way those bold circles interact with these amorphous forms—is almost playful. The scale suggests a smaller, more intimate viewing experience. Curator: Indeed. Havrylenko's embrace of geometric abstraction speaks volumes about the artistic currents of the time, even within the more restricted Soviet context. Non-objective art, especially, represented a quiet rebellion against prescribed artistic styles. Editor: Precisely. And the materiality is intriguing, you know. Looks like acrylic paint on some kind of paper? The almost tactile quality of the paint handling creates this unique contrast with the abstract subject matter. How might that texture influence its consumption and value? Curator: I see the hand of the artist in this careful application and selection of colors, defying rigid boundaries in cultural expression. This particular work's location in a private collection might affect its overall exposure and contribute to discussions around the commodification of art during that period. Editor: It’s as though Havrylenko is taking these standard artistic materials and manipulating them in a way that transforms not only what’s on the paper but what art means. You can trace that tension between mass-produced color and free, almost improvisational composition. Curator: This interplay of elements offers insight into a creative approach, subtly defying Soviet conventions even while navigating artistic expectations. It also invites reflection on geometric shapes in art and the subtle defiance of such a theme at that time. Editor: Ultimately, what strikes me is how these circles and soft forms, set against such deliberate hues, prompt us to reconsider production itself—challenging the notion of high and low art, of conformity and deviation. Curator: I agree. A work that prompts us to reconsider the interplay between the artist, the context, and, crucially, the public that it hopes to address. Editor: Precisely, and a brilliant reminder that meaning lies just as much in the material details.