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Sveta Gavrilenko was born in 1990 in Crimea. From 2007 to 2011 she studied at the Crimean Art School named after I. Samokish, at the painting department. From 2011 to 2012 she studied in Kiev, at the National Academy of Art and Architecture.

On returning to Crimea, Sveta founded a painting studio in which she has been teaching since. In 2016, she participated in the "Muzychi expended history project" residence under the supervision of Alevtina Kokhidze. And from 2017 to 2018 she studied at the course "Philosophy of Art" by A.G. Velikanov at the educational center of the Garage Museum in Moscow.

At the moment, based in Yalta.

2023 “AGGRESSION EXPLODES IN SILENCE” Art space kolo;

2022 “META HISTORY” Museum of War;

2022 “The invisible costs of war”, gallery “ARC”, Chicgo;

2022 “Hour of reflection”, gallery “Dzyga”, Lviv;

2022 "Save Us", Kunstverk art, Varel;

2021 "Field of corporeality", House of Culture Roza, St. Petersburg;

2021 "New Energies" in the art cluster "GAMMA", Moscow;

2021 "XY", Moscow;

2021 "Subconsciousness" in the gallery "Nagornaya", Moscow;

2020 "Flashmob Museum 15 minutes" them. Peterson, Yalta;

2020 “Conversation about corporality. Pain / Pleasure”, Moscow;

2019 Youth exhibition in Simferopol;

2018 Spring exhibition, in Simferopol;

2012 All-Ukrainian exhibition at the National "Union of Artists of Ukraine", Kiev;

2011 All-Ukrainian exhibition "Vivat, Ukraine" in the National Museum of Literature, Kyiv;

2011 Youth exhibition of the Triennial in the Art Museum, Simferopol;

2010 All-Crimean youth exhibition in the Crimean "Union of Artists of Ukraine"; Simferopol city;

2010 Exhibition dedicated to the pact. N. Roerich on the preservation of cultural values in the Art Museum, Simferopol.

2023 "Catalog "2000 yards sight" neotodresh gallery;

2022 "Zabarona" article "Ukrainian art and war of Russia against Ukraine";

2021 "Zabarona" for the section "Level of censorship zero";

2021 “Marika” magazine fine art issue”;

2021 Catalog for the DIDI art gallery auction;

2020 Catalog for the personal exhibition "Hybris things";

2020 Online catalog of the exhibition “Talk about corporality. Pain / Pleasure”;

2016 - 2017 Illustrations in the "Crimean Journal".

Teaching

2019 Lectures on the theory of painting at the College of Economics and Humanities, Yalta;

2016 Charity lectures on the theory of art at the Central Museum of Taurida as part of the festival “I am Youth”;

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consist of:

Mixed media oil / acrylic painting on canvas;

Gif animation files

A series of paintings performed in mixed media with oil and acrylic paints on canvas without stretchers, placed in the manner of carpets on my walls. The whole process of interaction with the material, as it were, immerse me in the space of the canvas. However, painting is characterized by fairly rigid spatial and temporal boundaries. And to get rid of these limitations, in this series I use computer graphics and motion to expand its capabilities.

For me, the relationship between the body and the place, the topos, has always been important. I was born and raised in the Crimea, from childhood I got used to living in a multinational, multi-religious, bilingual space. It was interesting to explore the surrounding world and myself in its context. This interest in the interconnection of the external and internal has been preserved, and now, when working on projects, I consciously take on topics related to the sense of self.

Since the beginning of the war, I have been trying to find a way to talk about what is happening and about my feelings inside the tragic events. The war has greatly affected my sense of physicality, so much cruelty changes the perception. And I have no words to talk about this nightmare, but I'm desperately looking for a visual language. And believe that it will help to endure our new reality not only for me.

I can't find the words to express the horror of what's going on, but maybe I can find a visual language.

weak anthropic principle 2022-2023 year.

Weak anthropic principle: “We are obviously not observing an arbitrary region of the Universe, but one whose special structure made it suitable for the emergence and development of our life”

formulation by G. M. Idlis (1958)

In this series of works exploring the connection between the body and topos, I set the task: to track how invasive changes inflicter of russian war machine in topos are felt at the level of the body.

The series put together in the exhibition is a voluminous multisensory experience consist of:

Mixed media oil / acrylic painting on canvas;

Gif animation available via QR code;

Textile, embroidery and raisin objects;

Audio / field recording.

The connection between the body and the place, the topos, was important to me since I was a kid, and in this series, exploring this connection, I set the task of tracking how changes in the topos are felt in the body.

The author’s decision to abandon the stretcher, which has already become recognizable, evokes a feeling of comfort and nostalgia, rhyming with the theme of the carpet on the wall, all of us use to have in childhood. Continuing the theme of canvas, carpets and fabrics, I offer viewers objects made in mixed media: satin stitch embroidery and epoxy resin. The hard and durable resin serves as a sarcophagus for the fragile, soft, colored threads. Transforming the malleable art of embroidery into a durable object. In this form, the art of working with threads and fabric will not fade over time. Taking ready-made embroidery kits and turning them into art objects, a kind of homage to traditions of pop art and readymade.

The audio accompaniment is a field recording, made while working on the canvases and embroidery presented at this series. The familiar sounds of military machines contrast with the cheerful colors of Crimean landscapes.

This project is an artistic study of the impact things around us do on the psycho-emotional state of a person. Focused on such a subtle matter as the aura that things form around themselves.

The artist is sure that each of us has things, attachment to which is close to love. We assign them anthropomorphic features and give them magical properties.

Svetlana decided to call this phenomenon "hubris of things." Hubris is a term that came to us from the ancient Greek language and denotes insolence, pride, arrogance, hypertrophied pride. In the ancient tradition, hubris is the overconfident behavior of a leader, which the gods consider to be a challenge to themselves.

The endless series consists of many Crimean landscapes created since 2017.

For me, the relationship between the body and the place, the topos, has always been important. I was born and raised in the Crimea, from childhood I got used to explore the world around me and myself in its context. And the process of going to the open air to paint a landscape is a personal therapeutic practice. I turn to her both in difficult periods for me and in joyful ones.

Therefore, this series cannot be completed.

“So, in a woman, whether she is a lover or a mother, a man cherishes and hates, first of all, the frozen image of his own animal destiny, the life necessary for his existence, but dooms him to finiteness and death. On day 1, when a person is born, he begins to die: this truth is embodied by the Mother. When he conceives, he affirms the primacy of the species over himself - this is what he comprehends in the arms of his wife; in confusion and pleasure, before he even conceives, he forgets his special "I". Even though he tries to separate his mother from his wife, in both he finds the same obvious fact: his own corporeality.

Simone de Beauvoir "Second Sex"

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Group exhibitions

Publications

Series "Paleolithic Venuses"

Thank you for your attention!