ANNA MIRONOVA’S CONTEMPORARY GRAPHICS AS A PROJECTION OF THE IDEAS OF THE UKRAINIAN ARTISTIC AVANT-GARDE OF THE FIRST THIRD OF THE 20TH CENTURY

Abstract

The article explores the artistic practice of the contemporary Ukrainian artist Anna Mironova as a complex multidimensional phenomenon in the context of the evolution of Ukrainian avant-garde ideas and modern ecologically oriented artistic practices, which is at the intersection of graphic experiment and ecological reflection. Despite her active exhibition activity, the artist’s work remains fragmentarily understood in the scientific sense. The scientific novelty of the study lies in the interpretation of Anna Mironova’s work as a holistic artistic system that combines the radical discipline of graphic gesture, phenomenological understanding of landscape and evolutionary continuity of the principles of the Ukrainian avant-garde of the early 20th century. It is proven that A.Mironova’s creative method is based on the philosophy of the “limit” and the effect of “approximation”, where the scrupulous materiality of the stroke transforms natural forms into universal mediators of identity and historical memory. Special attention is paid to the structural analysis of her artistic language, the hermeneutics of her “ecological turn” as a form of non-conflictual eco-discourse, as well as the understanding of her place in the concept of the “fourth wave” of the Ukrainian avant-garde. Through a retrospective comparison with the theoretical heritage of O.Bogomazov and D.Burliuk, the author’s transformation of the fundamental categories of “rhythm” and “texture” is revealed. It is substantiated that the artist’s graphic pointillism appears as a renewed “reality of texture”, where an individual gesture accumulates the energy of the material, the temporal dimension of the creative process and the involvement of the viewer.