Dmytro Korsun: ". . . According to its geometrical nature the axis's triangular basis is an edge, an arrow, a vector, an indicator of the movement direction as well as the directed movement proper. The sphere rested and crowned on the axis is some self-sufficient world. To the sphere from underneath attached is the prime mover which communicates a directed rectilinear movement to it Here appropriate is the analogy with mutual motion of spiritual and material spheres towards each other, their interdependence and absolute bi-unity." Read More

Oleh Sydor-Hibelynda: ". . . In one case – the matter left to waves as to the wind: blissful melancholy of separation (by the way, in Japanese lyrics it is connected to the appearing bird whose ornitonym composes the author’s name), in the other – something piercingly imperceptible, like waves and wind – fog! – caught by fetters of matter, by iron roof of lid and glass walls of cage. Two mutually irreconcilable vectors meet in the field familiar to us. Because the sphere of its possible associations did not catch the only thing among the multitude of derivatives of the field: a drop." Read More

Aggressive Beekeeping. 2002

Andriy Gurenko: ". . . The world of inverted perception where the word loses its meaning, notions have their substitutions, where instead of a personality and conscious attitude there is a filtered flow of illusions, ready-made conclusions as though they relieve of personal responsibility. The bee-keeper, maybe the only example of attentive cooperation between the man and nature, in this project plays the role of an aggressive creature. All tools for his peaceful work turn into a kind of weapons. Violence instead of care, fire instead of warmth, destruction instead of construction." Read More

Mykola Honcharov, Mykola Zhuravel. Paper, ink, tea, vine. 440x100 cm

Mykola Zhuravel: ". . . Bears and Ukrainian women beekeepers. That's also the theme of the Apiary. The bears are associated with animals that love honey, they like to steal the honey, rob the apiaries, they just love it. But it happened that they have a wedding. And the 350 ^th anniversary of the Pereyaslav Rada, the treaty. Any inter-state treaty is a marriage, there is such an analogy. A wedding. The S&M form was also used as a form of the absurd. It is absurd when one tortures the other, and the whole thing is called 'fraternal relations.' Brothers and sisters . . . This is absurd, this is S&M. Freudian stuff."

Andriy Gurenko: ". . . The comprehension of the fact that, as against the past, the destruction can get the global scale has become the main property of our time. The culture has not too much direct relation to social events. The aesthetic sphere is the concentrated memory of mankind, which nourishes itself since inside. In its highest manifestations it helps to understand the harmonious unity of all the components of the Universe, the conformity of the internal «I»and the world around. Therefore it is not surprising that spontaneous processes find their displays in the sphere of the art." Read More

Andriy Gurenko: ". . . The postmodernism with anatomic diligence having disassembled and having learnt all compounds of the present and the past could not offer a new viable program or even a direction of the movement. Life is not a mosaic of phobias, horrors, death, violence and sensuality. It is bigger, better and more pleasant than these prepared parts." Read More

The Apiary. 2002 - 2005

Oleh Sydor-Hibelynda: ". . . Taken in its entirety, the genre of this artwork oscillates between land art, an extended theater performance, and traditional three-dimensional sculpture. The priority probably will be given to the latter, but the very being of this artifact is fine-tuned by the intonations of an extended performance and of “land art,” or, if you wish, “earth art.” Earth nurtures, heaven lulls, art grants an unusual grace to the outlines.” Read More

Sam Hunter: ". . . A hollow bent cone that the artist sculpted from solid wood, true in their way to the principles Prokopovych expounded two centuries ago but tempered by modern times and the artist’s intent, it is large enough to encase a seated man. Its two wings were shaped to fit together, leaving open space and portals for the bees. But the key to the process were the honey-bloodred pigment that was allowed to flow over its pale, gessoed surface, highlighting such urgent details as the tiny raised arrow “bees” and the graffiti scratched into three thick ribs that appear to double as steps to a chimney on some primeval wall." Read More

Christian Gusewski: ". . . One spring day, sitting under the blossoming apple tree, I noticed a mysterious sound emanating from the tree. It turned softer, then louder, at times almost became a melody, then turned quiet; it was so close to being grasped with words and still remained out of the reach of comprehension, endlessly mysterious, harmonious, cosmically solar . . . These were the bees, thousands of them, gathering nectar from the blossoms, and in their sound resonated the cosmic song of eternally present love." Read More

Transforming Beehive Frame into Stratum No. 1, 2005. Levkas, wax and oil on/in board. 60x90 cm

Frame - Sun Battery from Cycle Apiary No. 2. 2002. Wood, levkas, metal, copper, oil. 210x100 cm

Beehive Metamorphosis No. 1, 2005. Detail. Levkas and oil on board. 120x100 cm

Solar Battery No. 2, 2005. Levkas and oil on board. 130x350 cm

Beehive Frame No. 1, 2005. Detail

Beehive Frame No. 1, 2005. Unique sculpture panel. Bronze and oil on board. 120x90 cm

Voltahalle 2008 | Das Apiary Project
A-House Gallery Kiew
16.-26.10.08 Voltahalle Basel

www.apiary.ch

Paintings, Sculpture, Performance, Works on Paper

Lavra 2009 | The Apiary Project
14.-29.08.09 Lavra Gallery Kiev

www.lavra.ucoz.ua

Paintings, Sculpture, Performance, Works on Paper, Photos, Workshop