Tag: carpatho-rusyn folk art

Andriy Khomyk – no room for mistakes

Time To Go Home by Andriy Khomyk. Source: Andriy Khomyk
Time To Go Home by Andriy Khomyk. Source: Andriy Khomyk Art

Andriy Khomyk was born in 1962 in Lviv, Ukraine, to Lemko parents who, as many others at that time, were forced off their lands and homes in Poland during “Akcja Visla.” He now lives in the United States and has been actively involved with Lemko organizations there. In 2014 he was elected the president of The Lemko Research Foundation.

Khomyk is a graphic artist and an illustrator, but his broader artistic effort is directed at preserving an old art form – reverse glass painting. This technique has been around for centuries, was widely used in medieval sacral art and can be found, for example, in Transylvanian Orthodox icons. Unlike a stained glass painting, a reverse glass painting does not need for the light to go through it (for viewing), but at it, and so it can hang on a wall. It is quite a demanding art form, especially when it comes to realism and correcting mistakes.

Khomyk’s body of works draws not only from the Ukrainian folklore and culture, but also dwells on more abstract themes, distant themes, and modern ones, flawlessly executed in styles that directly support the subject matter. His artworks are vibrant, loaded with atmosphere and color, and – they will surprise you with their boldness, detail and innovation.

Corryda by Andriy Khomyk Source: Andriy Khomyk Art
Corryda by Andriy Khomyk Source: Andriy Khomyk Art

Zoryana “Bazka” Bazylevych – evoking the childhood fairy-tales

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2013 was the second year that Zoryana Bazylevych exhibited with The Warhol Effect: Lemko Jerusalem in southern Poland. Zoryana studied decorative arts and textile design  in Lviv, she has a law degree, and also works as a book cover designer and an illustrator. One of her significant exhibitions was held in April 2013 in Lviv, in the largest exhibition hall in Ukraine, The Palace of Arts. She showed thirty of her still-lifes and landscapes described by the critics as “a diary of emotions secured in by colors in a manner of folk fairy tales, often using a childlike perspective, yet not so much infantile as unhampered by stereotypes.”

Nevertheless, which dimension of childhood fairy tales are we getting here? I dare say it is not the ephemeral quality of barely-there fairies and invisible beings that make you consider magic. It is rather the solid quality of the land and the people’s connection to it that colored their everyday striving and their imagination which helped transferring to the next generation the tradition, wisdom and beauty,  but also doubts and fears. Zoryana captures this complex verbal tradition and makes it visual. Her paintings are rich, firm and substantial, they do not disappear into a haze at the first sign of approaching human footsteps. They will stand their ground to reveal the story of the inspiration that is behind them.