Incemination 5
2025, Digital format , Contemporary, Romanticism, Neoclassicism, Modernism
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When there's nothing to hide))
A maple leaf was blown away by the wind during processing.
It was supposed to become part of the clothing, but why be ashamed? In the Synthetarium there is no room for shame — everything is sterile, polished, and those bodies become to be alive.
I think about the Renaissance, when the body once again opened itself to art as a source of strength and beauty. In the canvases of the old masters - Botticelli, for example - this sense of bodily humanity resounded like a celebration. The body was not sinful; it was the embodiment of human triumph.
But now this triumph is different. My figures are glossy, polished, sterile. They resemble a body that has passed through modern disciplinary mechanisms. As Foucault wrote:
"Discipline increases the forces of the body (in economic terms: its usefulness) and diminishes these same forces (in political terms: its obedience)..."
Another of his lines doesn't leave me: "This protected place of disciplinary monotony. The school, the barracks, the hospital - institutions organized around enclosure and repetition."
So my figures live suspended between two epochs: between the Renaissance triumph of corporeality and the synthetic monotony of modernity.
- 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.
- Color profile description
- 48 bit color depth, 281 Trillion Colors
- Photographer
- Digital Original Studio
