Exhibition of paintings by Oksana Migur PEOPLE AND WALLS

- Have you done your lessons? And did you practice music? Have you washed the dishes? Did you bring the dog out? Well, then you can draw.

And so for almost 50 years.

I didn’t do the lessons. The dishes washed a ton, but it still starts. The dog is dead. The piano was sold, and the children grew up. Now you can draw.

Friends forgot to forget about what I want to draw. They were artists, and they didn’t give a damn about the dishes. They reminded me of this for many years, in turn, while each of them was alive.

Just in case, I still after work (as a director of something) studied for three years at the Academy of Arts, in drawing classes. It came in handy.

Living in France, I was surprised that I absolutely did not want to write medieval castles and drop dead lavender fields. Probably because it’s more convenient to think on the usual material. Moreover, I haven’t figured it out yet.

Where does the sky begin?

Probably straight from the ground and up. However, it is difficult to imagine that you move the sky with your feet when you walk. Then it seems that it starts somewhere at eye level or the place that we think about it. The boundary between earth and sky is a curious place.

Oksana Migur

<…>… the work of Oksana Migur is a kind of anthropology; telling quite a lot of unpleasant things about the people she depicted (they are irritable and miserable, aggressive and melancholy, businesslike and capricious), the artist realizes the main thing: their defenselessness. The paintings of Oksana are very trusting, with the practical absence of brain digging, or the "spirit of breathtaking" piles of intrigue. So a wall, a plane, can become a sheet of an “anthropological questionnaire” (a table?), And the last - a page of a diary (a locus of “a mind of cold observations and a heart of sad notes”).

Actually, Oksana’s painting is also gullible; the cold gamut characteristic of most works does not preclude the inclusion of empathy; the multi-layered style of writing, creating a complex texture, seems to be proof of repeated edits, that is: a responsible attitude. Sharp angles - especially in still lifes, but not only - suggest a shifting, "dancing", emotionally colored look; sometimes the accented smear is a “handprint”, as if guaranteeing authenticity…

Alexey Kurbanovsky, art critic