Yulia Maistrenko’s Image-bearing Theology
Religious subjects are popular with modern artists. This popularity (much as I hate the word in this con text) is an extremely sophisticated phenomenon in terms of its causes and consequences. A lot of artists have undertaken this subject, but the graphics of a young Yulia Maistrenko deserve special notice. Her series and separate prints are best described as theological papers, demonstrating the author’s remarkable education and continuous, intense intellectual effort. It is also true, however, that the artist consciously, almost demonstratively avoids any disputable — let alone political — angles in her religious etch ings.
Her early Last Supper series (she made them as a 23-year-old student) are strikingly voluminous, revealing a very somber approach. Lesia Avram enko, a noted Kyiv critic, wrote about Maistrenko’s Lamb : “Both the com position, confined to a medallion, and her plastique and image-bearing solu tion remind one of monumental reli gious decorations. In this work, the theme of sacrifice proves especially arresting; looking at the lamb cuddled up on the sacrificial plate, surrounded by somber-faced apostles, the dra matic effect is enhanced by the real ization that the lamb has human upper and lower limbs.”
In fact, this dramatic impact is vivid in Yulia Maistrenko’s diploma project. It consists of five monumental graphic sheets: “Descent of the Holy Spirit. Jesus as the Teacher,” “The Gate of Paradise. Christ as the Messiah,” “Descent into Hell. Christ as a Son of Man”; “Holy” Grail. Christ the Good Shepherd,” The All-seeing Eye. Christ Almighty.” All these images are ex tremely symbolic, yet displaying the immaculate logic and crystal-clear con cept of the theme; in a way reminiscent of Hildegard of Bingen, the prominent 12th century German mystic.
The architectonics (if you will par don my using the word) of these etch ings is built on a single expressive and profoundly symbolic image, to which the entire composition is subordinate — rather, upon which the whole com position is centered. Sometimes this image is perfectly clear (“The Gate of Paradise. Christ the Messiah.” or “Holy Grail. Christ the Good She pherd.”); sometimes it can prove to be more sophisticated, as in the tearful “All-seeing Eye. Christ Almighty,” or quite unusual, as in “Descent of the Holy Spirit. Jesus as the Teacher,” “The Gate of Paradise. Christ as the Messiah,” where the entire composi tion resembles an hourglass.
A great many smaller elements are skillfully incorporated into this common structure — I would say, with considerable inventive talent. These elements are “brands” addressing the problem being worked out in a given etching. Yet the significance of each such element does not prevent all of them from forming an exquisite pat tern reminiscent of all those precious old embroideries where every stitch equaled a rosary bead.
The said five etchings determined Yulia Maistrenko’s graphic style. It was then her works became easily identifiable — and unique.
First and foremost, there is no empty space. She considers it an unaffordable luxury. In fact, she fills what “gaps” she finds with a most whimsical ornament. Also, her com positions must exist in space as well as in time. Her religious themes are meant for adequate deliberation, rather than passive meditation. More over, they have to be deciphered first and considered afterward. Her col oration is as active and sophisticated. Her colors sometimes look harsh. Despite the ample palette, her colors, traditionally considered warm, invari ably turn out cold.
Yulia Maistrenko’s graphic tech nique is outwardly easily explained. Her allusions to the Byzantine, Roman, and Kyiv Rus’ art are self-evi dent, but they cannot be singled out, nor can they be separated one from the next for they constitute a single creative whole.
The artist has been true to this graphic style for the past five years, always updating and upgrading it; she is obviously quite content with its image-bearing and notional potential.
Treating original sources with utmost attention comes first in Maistrenko’s graphics. This is espe cially evident in her latest work, a diptych illustrating the miracles worked in the Sinai Desert — manna and quail. Manna is interpreted as Salvation Army food: although served in Old Testament vessels, it foretells a great future. Jesus refers to that manna, saying that it is the true bread from heaven. Hidden manna is mentioned in Revelations. Quail is a different story. Yulia por trays the birds, those that appeared before those Israelites not satisfied with manna, as monstrous creatures. These birds brought disaster to some greedy Israelites not content with God’s provision, for “While the [Quail] was still between their teeth, before it was chewed, the anger of the LORD was kindled against the people, and the LORD struck the people with a very severe plague” (Numbers 11:33).
Finally, the most important entries in Yulia Maistrenko’s CV: born in Kyiv, 1975; study at the Taras Shevchenko Republican Secondary School, 1986- 93; study at the National Academy of Pictorial Art and Architecture (Graphics Dpt., Prof. A.V. Chebykina’s Free Gra phics Studio), 1994-2000; postgradu ate and on-the-job training course at NAPCAA, 2000; member of the Uk rainian Artists’ Union since 2000; NAP CAA teacher since 2001.
