Prominent Uzhhorod artist Vira Tomashevska presents her discovery, a ceramic picture, at the Akvarel Gallery

In fact, Vira Tomashevska’s discovery, like all true discoveries, is very logical. She began her career as a monumental ceramist, the author of imposing, wall high and wide decorative compositions. The idea of genius was to impart an intimate small picture form to this piece of art without changing its essence. Technically, the Uzhhorod artist’s picture consists of three-dimensional ceramics, sometimes of filigree quality but more often than not expressive in their conciseness, parts usually stuck to a canvas right next to each other. This results in a paradoxical and breathtaking combination of manmade coziness and broad scale, which leaves the impression of a merry and somewhat solemn festive commotion.

Vira Tomashevska’s favorite characters are flowers, fish, and buildings. These three elements have divided fairly the living space of her picture, sometimes hospitably letting other characters into their circle (circles, to be more exact). This gives birth to comical eyed butterflies, fabulous birds, trees as short as flowers (The Autumn), masks or, for example, a lost lamb (The Woods). But the usual work of this Uzhhorod artist is either a generously flowering glade (Springtime), a river bottom bustling with a life of its own, or, finally, a city. Cities are perhaps the most charming part of her vast ceramic country: various small pseudo-medieval houses with tiny windows and balconies stand one by one. What is this, fairy-tale gingerbread architecture or a superb unattainable reality belonging to a different space and time? Moreover, these cities are intended, undoubtedly, for audiences alone. In any case, there are no other inhabitants in them: all the houses stand quiet and deserted. Perhaps Tomashevska has depicted some sort of ghost towns abandoned forever either by gnomes or grownup children? Perhaps her cities are dreams and reminiscences of her native Uzhhorod. Although the picture itself says nothing to this effect, we can well surmise that the rivulet outlining a magic town like that at the bottom of the picture and, naturally, crawling with various merrymaking ichthyological characters is nothing but the River Uzh.