Sketch for painting XVI The Great Towers of Kyiv

The drawing presents a systematic arrangement of geometric forms across a rectangular plane. Sixteen distinct compositions are organized in a four-by-four grid, each occupying roughly equal space and exhibiting a deliberate balance between color and shape. The palette is restrained, primarily utilizing variations of yellow, blue, red, and green, with occasional accents of white and black.
Here we see a recurring motif: the triangle, appearing both upright and inverted, often paired with circular or semi-circular elements. These shapes are not rendered realistically; instead, they are presented as flat planes, devoid of shading or perspective. The artist employed watercolor techniques, evident in the subtle gradations within some colors and the slight bleeding of pigments along edges.
The compositions themselves vary in complexity. Some feature only two or three forms, while others incorporate more intricate arrangements involving intersecting lines and layered shapes. A sense of order prevails; each arrangement feels carefully considered, though not necessarily representational. The absence of recognizable imagery suggests an exploration of abstract principles rather than a depiction of concrete subjects.
The subtexts potentially reside in the artist’s investigation of visual harmony and structural relationships. The grid format itself implies a system or framework, hinting at underlying rules governing the arrangement of forms. One might interpret these compositions as studies for larger works, explorations of color theory, or even symbolic representations – though any definitive meaning remains elusive without further contextual information. The deliberate simplicity and methodical organization suggest an intellectual exercise, a visual experiment focused on fundamental elements of design.