Eve’s Apple
2025, Digital format, Digital print , Surrealism, Contemporary, Modernism, Futurism, Сучасне мистецтво
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In this work, the myth of Eve is no longer a story of origin, but a segment in a time loop — a fragment endlessly reoccurring with shifted meanings.
The apple she holds is no longer a symbol of temptation, but one of protection. Chrome-coated and gleaming, it resists consumption. It has already been bitten — somewhere in a previous cycle — and now exists in its second form: as a shield.
Eve is not offering the fruit; she is guarding it.
This is not the beginning, but the return. Her gesture is not an invitation, but a gesture of warning, a silent message encoded in metal:
“Don’t repeat it. I’ve already been there.”
The chrome surface reflects rather than nourishes. It contains memory, not promise. It is desire that has gone through the fire, emerged not destroyed but reformed — armored, distanced, and aware.
Where the original apple stood for knowledge through transgression, this one stands for knowledge through survival.
Eve’s body is partially mechanized, her stance deliberate, timeless. She is no longer the passive initiator of human downfall, but the active agent of cyclical awareness. In this loop, she exists not before the fall, but after many.
She holds the apple not to tempt Adam, but to protect him from himself — though she knows the loop cannot be broken, only delayed.
This internal artwork acts like a prophetic icon, projecting the logic of preservation and aestheticized control over nature.
Its presence reinforces the time-loop logic of the main piece: the apple, now chrome, resists consumption, just as the pig — historically destined for slaughter — is now immortalized in metal.
The work questions the role of myth in the age of post-human aesthetics:
What if Eve, after countless repetitions, learned to resist the script?
What if the apple, once symbol of sin, became a device of care?
- Country Ukraine
- Year 2025
- Styles
- Medium
Kryvych is a contemporary multidisciplinary artist born in Kyiv, who studied art in both Kyiv and Madrid. Anna explores the mechanisms of human interaction with the world through artistic practice. Her works reveal deeper layers of reality, truth, and existence. She investigates themes of dehumanization, estrangement from nature, and immersion into artificial constructs that distort our connection to the essence of life. By creating visual narratives that resonate with philosophical and apocalyptic concepts, Anna seeks to uncover the hidden forces shaping human experience — particularly through the lens of presence and the exploration of extreme existential boundaries.
Working across painting, sculpture, and object-based installation, she reflects on the shifting boundary between the real and the simulated, the living body and its artificial extinction. Her recent works engage with themes of posthuman ecology, chromatic surfaces, and speculative anatomies — including chrome-finished animals, robots, and hybrid beings suspended between evolution and erasure. She often incorporates vacuum-sealed objects, metallic textures, and artificial skins to explore how presence can become a trace, and how nature begins to perform itself as image.
Kryvych’s artistic inquiry is guided by questions such as:
– What happens to corporeality in a world where everything can be copied?
– Can art still function as a site of resistance in a culture of seamless simulation?
– And is true desire still possible when experience is endlessly reproduced?
Her work has been exhibited in Madrid, Zurich, and the Museum of the History of Kyiv, as well as in numerous group and solo exhibitions across Ukraine and Europe. Recent exhibitions include The Sea (Stable Gallery, Vienna), Fragments (Eye Sea Gallery, Kyiv), Please softer (Octo Gallery, Kyiv), and Spanish Group Exhibition (Galeria Lanza Art, Madrid).
Kryvych’s works are part of private collections in Ukraine, Spain, and Switzerland.
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