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WDYN?

WDYN?

W 90.00cm x H 94.00cm x D 2.00cm

USD $1,500.00

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  • About this WDYN?

    Detail

    Medium

    Painting (Acrylic painting)

    Edition

    Original Artwork

    Year

    2021

    Sign

    Artists' signature on the back of the canvas

    Frame

    Unframed

    Description

    Elena's love of rural motifs is often evident in her paintings.

    Many villages are full of legends. Sometimes city dwellers are interested in the archetypes of the villagers, the drunkard debauchee, the man with the golden hands, the granny hoarder. Lena spent her entire childhood in the village of Ishlya, a colourful settlement with its entertainment, leisure activities, traditions, myths and scares. Through painting, the artist captures the memories of her childhood impressions of her native village.

    All the subjects of the paintings in this series are different, animals, chickens and of course villagers appear here. But Elena consciously does not want to talk in detail about each picture, in the hope that the viewer, who has spent at least a little time in the village will have a memory and its own story on the subject of the picture.

  • About this artist

    Lena Romanovskaya

    Lena Romanovskaya

    Russian Federation

    Concept

    I am an artist of postirony. In my work, truth appears in disabiliation, completed with the trappings of sarcasm and restless eclecticism. I consciously turn to a naive interpretation of archaic images, which are becoming a refuge from aggressive environment. I intertwine them with explorations of the social and mental, creating my work in a loose space between simplicity and wit.

    There is always a "gimmick" in my works; I incorporate the mechanics of defamiliarization into narratives and pictorial images, working with a horizon of nonsense. Absurdity, breakage, randomness generate something new that contradicts the already ready, cemented "system" of signs and analogies. The better the "system" works, the more obvious to me is the indispensability of gaps, intervals and inconsistencies as sources of new meanings.

    I approach the modeling and transformation of the space between the viewer and the work of art in a meaningful way, setting the logic of the game, in which there are no losers or winners, but there is excitement. According to Johan Huizinga, the game situation that triggers the thought process is nothing less than an engine and catalyst for the development and renewal of culture. Each move I make in the game generates a tiny concept, a fragment or facet of an extended narrative: a travelogue, a tale, a fairy tale - everything that serves as the substratum of my work.

    The genre tension, the inflamed color and density of the composition give away the continuity of the Expressionist tradition. Their visual images are imbued with ornamental motifs, a decorative lushness in which one ethnic genome or another manifests itself.

    My art practice presents a synthesis of cultural contexts, the image of Joseph Campbell's nomadic, thousand-faced hero moving from one mythological system to another. Only one facet, one angle of view, is revealed in the painting. A large narrative is interrupted, and through this essentially ironic act a whole image is born. The works translate their preoccupation with narratives into an ornate but revelatory way of finding oneself in the other, following the poststructuralist logic of defining the Other, which constitutes the self. The selected fragments of cultural narratives are those that express personal beliefs, my sympathies and interests. Thus, the center and engine of my practice is the simple question, "Who am I?".

    In the age of metamodernity we all find ourselves alone with this question, despite the illusions of permanent communication and encounter in hyperreality.

    Postirony allows me to create a game situation in which the viewer can discover his own flaw, a log in the eye as an inherent sign of this being. In doing so, the rules of the game give no advantage to anyone: both, the artist and the spectator, are in fact in the dark.

  • FAQ

    Does this art work need a frame?

    In many cases, art works with a canvas stretched over a wooden frame can be displayed as is. Thin art works other than canvases are easier to frame. For any questions or concerns please chat us.

    Are there other sizes for a similar type of artwork?

    A Depending on the artist, request consultations are available. For any questions or concerns please chat us.

    What kind of hardware should I use for hanging the artwork?

    • If you are concerned about repayment costs, such as when renting a house, wall pins and hooks that do not leave noticeable hole marks are available at major DIY Store and art supply stores.
    • If you want to hang a canvas with a hook, a hook type with a long hooking surface, such as a V-shaped type is recommended.
    • If there is a string on the back of the canvas or the back of the frame, you can hang it with a pin type that has a short hooking surface.
    • For any questions or concerns please chat us.

    What happens after purchase?

    • You will receive an email after we confirm the shipping date with the artist.
    • TRiCERA will arrange delivery and provide tracking information.
    • Our experts will assist you with installation, framing, and other aspects of the installation before arrival.
    • We offer a return policy within 14 days of receipt. (Except for the optional frame orders)

    About Shipping Fee and Return

    Shipping fees will be automatically calculated based on your shipping destination country and the origin country from which the artwork is shipped. You will find the exact shipping cost in step 2 of the checkout page. We, TRiCERA, Inc., will cover any import duties, taxes, or brokerage fees. Returns are free of charge within 14 days of receipt if there is a problem with the artwork.

    What types of payment are available?

    You can use major credit cards (excluding JCB), PayPal, amazon pay, ApplePay, GooglePay. We also accept bank transfers if you are in Japan.

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