Paintings

series of oil and acrylic paintings on canvases | ongoing

Ewa Doroszenko painting 01
Ewa Doroszenko_painting 06
Ewa Doroszenko_painting 01
Ewa Doroszenko painting 09
Doroszenko Ewa painting exhibition 01
Ewa Doroszenko_painting 05
Ewa_Doroszenko_painter
Ewa Doroszenko paintings 05
Ewa Doroszenko painting 101
Ewa Doroszenko visual artist 05
Ewa Doroszenko painting 10
Ewa Doroszenko - contemporary painting 01
Ewa Doroszenko_painting 08
Ewa Doroszenko painting 11
Ewa Doroszenko - paintings 01
Ewa Doroszenko_painting 02
Ewa Doroszenko visual artist 04
Ewa Doroszenko_painting 03
Ewa Doroszenko_painting 04
Ewa Doroszenko_painting 04
Ewa Doroszenko - paintings 07
Ewa Doroszenko - Exhibition 08
Ewa Doroszenko - paintings 04
Ewa Doroszenko - paintings 06
Ewa Doroszenko_paintings 02
Ewa Doroszenko_paintings_06
Ewa Doroszenko work in progress 01
Ewa Doroszenko_paintings 01

Paintings

series of oil and acrylic paintings on canvases | ongoing

In my artistic practice, I am balancing on the edge of abstraction and figurative forms. My relationship with geometry and abstraction evolved from my interest in the construction and function of the machine. The main motive I took up in my doctoral thesis was the idea of a growing, unrealistic mechanism. After defending my doctoral dissertation, I deepened my earlier painting interests, gradually moving away from the illusory presentation of concrete forms towards depicting sophisticated processes taking place in a complex system.

To illustrate the multi-track ways in which an organism operates, I use compositional systems created by juxtaposing geometric shapes. Fascinated with contemporary and futuristic issues, modernism aesthetics I create images dominated by controlled chance. My paintings are neither fully figurative nor completely abstract. Repeating is the basis of my painting practice. My cycles of paintings are based on repeating simple, strong graphic elements, and purely abstract ideas. Sometimes the result is purely abstract cycles, sometimes the figurative features are more visible.
My actions often refer to the work of the French Dadaist Francis Picabia. Some of them are an attempt to transform the main motif of the painting ” Parade amoureuse” from 1917. I analyze the complicated construction of Picabia, I build it from the very beginning, creating a growing organism. Individual images cease to function as independent objects, the relationships between them become important. Each of the paintings is a kind of continuation of the previous one, my endless conversation and romance with geometric motifs, juicy colors and strong black.

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