Flora Yukhnovich

London, UK
8 February – 30 March 2019

Yukhnovich’s research revolves around a series of binary positions: feminine and masculine, low and high culture, good and bad taste. To address these ideas she repurposes the motifs, palette and painterly gestures of an aesthetically contentious moment in the history of art, the Rococo. As an artist working in the twenty-first century the works of Fragonard, Boucher and Watteau and the cultural freight they carry become a vehicle for her ideas, rather than the sole focus of them. Through her images Yukhnovich explores aesthetic codes, specifically the ways in which painted images encrypt and reinforce gendered positions. Central to her investigation is the gendering of the colour pink. She says: ‘I feel a bit conflicted about the colour and the aesthetic it embodies. On the one hand, I accept the designated female imagery which I have grown up with and genuinely like, and on the other hand I feel embarrassment at the reflection it has on me. I think a similar tension exists in the recent popularity for Millennial pink. There is an enjoyment of nostalgia and pleasure, but also a feeling of the necessity for some degree of irony to create distance from the unwanted associations. I am trying to find a balance between these two feelings in my paintings.’

Flora Yukhnovich completed her MA at the City & Guilds of London Art School in 2017. Her work is currently included in the group exhibition ‘Dialogues: New Painting from London’ at GASK, the Gallery of the Central Bohemian Region, Czech Republic, and will also be included in ‘Telescope’ at the Jerwood Gallery Hastings, curated by Nigel Cooke, from 18 January 2019. She recently completed The Great Women Artists residency residency at Palazzo Monti, Brescia.

Image: Flora Yukhnovich, Untitled (detail), 2018. © Flora Yukhnovich 2018. Courtesy Parafin, London.