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EnregistrerAtmospheric Study No. 10
| Année de création | 2026 |
|---|---|
| Dimensions | 24 L × 24 H × 2 P cm |
| Types d'art | peinture |
| Style | impressionnisme |
| Genre | paysage |
| Matériaux | huile, bois |
| Encadrement | l'oeuvre est vendue avec encadrement |
| Mode d'emballage | emballage carton |
Description de l'œuvre “Atmospheric Study No. 10”
Part of an ongoing series exploring the relationship between horizon, atmosphere, and landscape space. This original oil painting investigates light, atmosphere, and perception through a reduced landscape language. Built with expressive palette knife marks and layered oil paint, it balances abstraction with the quiet intensity of a single point of light. A small, glowing orange disc hovers in a vast monochrome sky, its light tracing a vertical reflection through the textured water below. Cool greys and muted purples dominate the upper composition, while fragments of green, gold, and white build a fractured surface across the lower half. Rather than depicting a specific location, the painting explores landscape as a space shaped by light, weather, and time. Rich textures reveal new details with sustained observation. Part of the Atmospheric Studies series.
Daria Zavadenko, Ukraine
Landscape, for me, is not a destination but a condition of seeing. I return to the same motif repeatedly—not to describe a particular place, but to understand how light, colour, and atmosphere shape our experience of it. The landscapes I paint are rarely tied to a specific location. Instead, they emerge from the feeling of recognizing a place that cannot be fully remembered. Working almost exclusively with a palette knife, I build each painting through broad gestures, layered paint, and deliberate reduction. As details disappear, relationships between light, colour, and space become more vivid. The physical surface of the painting becomes part of that search, allowing observation and intuition to exist simultaneously. Rather than documenting nature, I am interested in the moment when direct observation gives way to memory. What remains is not a faithful image of a landscape, but fragments of atmosphere, light, and rhythm reconstructed through experience. Each painting asks how a landscape continues to exist once it no longer belongs to geography, but to memory.