Flora Yukhnovich - Contemporary Fête Galante
By Anna Niederlander
What do Rococo art, food, and contemporary culture have in common? Flora Yukhnovich’s paintings reveal the deeply intertwined connections that become so seemingly obvious in hindsight, but which you have never considered before. Her paintings can be described as abstract Rococo works, where figures morph in and out of figuration. Her compositions are in constant flux, as though the paint on the canvas has not dried yet, and still seems to be dripping of the canvas. The texture of her paintings is best described as rich, creamy and almost delicious. “I love paint. I find it the most thrilling exciting stuff. I like the idea of it being excessive and luxurious,” said the artist in an interview with curator and art historian Katy Hessel. While in many paintings it is the subject matter that is at the forefront, Yukhnovich puts the medium of the paint itself on par with the subject. It is as much about feeling the dewiness of the paint on the canvas, as it is about the story that is taking place within the frame. The texture of the canvas and the subject matter work together to convey the final meaning.
Flora Yukhnovich in front of f her work “Thank Heaven for Little Girls” (2018)
photo credit: Peter Mallet, Parafin Gallery, London
Discussing Yukhnovich’s “A Glass and a Half” (2019), Katy Hessel says: “It’s almost as if you are drinking the liquid off this painting.” The manner in which Yukhnovich uses paints results in a sense of excess, where one is drawn to the creaminess and richness of the canvas, while simultaneously feeling almost repulsed by its overindulgent nature. As Yukhnovich states: “I think most of my ideas come from consumerism. I like the idea of foodieness. There is something alluring about that and repugnant at the same time.”
A Glass and a Half (2018-2019)
https://www.florayukhnovich.com
Fête galante was a term coined to describe artworks by French painter Antoine Watteau at the beginning of the Rococo period. These artworks included paintings of garden parties, people wearing ball gowns and elaborate costumes, and usually blurred the boundaries between reality and fairytale. Yukhnovich’s sense of superfluity suggested by her soft, organic brushwork, her flesh tones and creamy texture adds this sexualized romantic tone that was so omnipresent in 18th century Rococo paintings. Yet, Yukhnovich’s figures are destabilized, almost melting away, calling into question the stereotypical feminine gendering of the Rococo at the same time.
It is crucial to Yukhnovich that her works stay open to the imagination and allow for different interpretations. In her work, “That Dark Continent,” many different ideas come to mind. To name a few, the subject looks like a giant pomegranate, a fruit often linked to fertility, temptation and sex. Or it could be an angel taking off into the sky to join those already floating in the background, a symbol of youth and innocence. Or it could be a snapshot taken from a Disney film, like when Cinderella turns into a princess. Reality and fantasy blur together, and though it evokes a soft and romantic mood, there is also a feverish and energetic undertone.
Capriccio (2019)
During her two-month residence in Venice in the summer of 2019, Yukhnovich created a series of works inspired by her stay there. In her interview with Katy Hessel, she narrates how even walking through the streets of Venice, crossing over different bridges and seeing the unique changing architecture, impacted the overall composition of her works. Just as the Italian Rococo painter Tiepolo was impacted by Venice, resulting in more musical compositions in his painting, this impact is also visible in Yukhnovich’s works. This idea of a more musical composition is seen in her work “Capriccio” (2019). In musical terms, Capriccio refers to a piece of music that is commonly spontaneous and freely formed. When your eye travels around the canvas of Yukhnovich’s “Capriccio”, there is a greater variety of rhythm. In her interview with Katy Hessel, Yukhnovich describes this as “jumping from one part of the composition to the next... some parts are slower and then some faster.” Her Venice works suggest a more musical spirit, an increased sense of movement, and feature cooler blue tones, which undoubtedly were influenced by the seascape of Venice. Her works from this period have become more dynamic, while still retaining her distinct abstract Rococo style, which ultimately expresses her love for paint as a medium. Yukhnovich states that “The thing that makes me want to paint is paint,” and this definitely comes across in all her works.
Bibliography:
Artists’ Collecting Society. “Student Spotlight: Flora Yuknovich, City & Guilds of London Art School.” Artists. Accessed September 4, 2020. https://artistscollectingsociety.org/news/student-spotlight-flora-yukhnovich/.
Black, Holly. Elephant. “’It is very Indulgent’: Flora Yuknovich Brings Venetian History to Life.” Art. Accessed September 4, 2020. https://elephant.art/flora-yukhnovich-brings-venetian-history-to-life-painting-rococo-victoria-miro-31032020/.
Figes, Lydia. ART UK. “Rethinking the Rococo: painter Flora Yuknovich adds a contemporary twist.” Accessed September 4, 2020. https://artuk.org/discover/stories/rethinking-the-rococo-painter-flora-yukhnovich-adds-a-contemporary-twist#.
Hessel, Katy. Interview with Flora Yukhnovich. The Great Women Artists Podcast. Podcast audio. May 20,2020. https://podcasts.apple.com/gb/podcast/flora-yukhnovich/id1480259187.