Exlibris of Ivan Mohytych 1983

Editor: This is Oleksandr Aksinin's "Exlibris of Ivan Mohytych," a print from 1983 made using ink and engraving. There's a strange, dreamlike quality to the composition, with these very precise geometric elements contrasted by the surreal central image. How do you interpret this work? Curator: Well, first we must ask: what did it mean to be making this kind of art in 1983 Soviet Ukraine? Aksinin was part of a non-conformist art scene. His art pushed against socialist realism and touched on a dissident worldview that valued individual spirituality and cultural heritage. The 'exlibris' form itself signals intellectualism and a personal connection to knowledge. What do you notice about the imagery itself? Editor: It's strange, and the serpent gives me unsettling vibes. It's all tightly interwoven in this lozenge shape... the geometric shapes look a bit like instruments of torture and death. Curator: Yes, and I see it, too. The serpent often embodies complex ideas like knowledge and temptation but here, given the historical context, it seems a force of suffocation, squeezing the life from creativity, threatening both the church building inside and the open expression of the individual's soul. Do you notice the open, pleading gaze of that internal figure? Editor: Oh, wow. I didn't initially see the figure within the shape. Knowing about the political context definitely casts it in a darker light. It is almost a protest of a system he didn't believe in, or a cry for change. Curator: Precisely. These small-format prints were safe ways to engage in subtle acts of resistance and push back against the cultural norms of the time, speaking volumes through symbolism. This also connects Aksinin's body of work to wider questions of self-expression against any forms of repression and censorship. Editor: That makes me think differently about seemingly ‘simple’ designs, recognizing their hidden stories of protest. It's a fascinating intersection of art, politics, and personal identity.