In the paper-based works and paintings of Kateryna Aliinyk and Dominika Trapp, the close attention to landscape allows for a range of relationships to emerge, evoking profound sensory and spiritual experience.
Trapp’s artificial terrains host fictive, dystopian scenes and serve as choreographed stages in which latent violence and entanglement unfolds through intricate detail.
Aliinyk turns to another space-time — nature’s infinity and its persistent capacity for regeneration despite war and destruction. Amid conflicting feelings of fear, admiration, and alienation, a form of radical joy emerges.
Lívia Páldi