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Natalia OstapenkoSunset Palm Tree

Emerging artist
Painting
One of a kind work | Ready to Hang
40 W x 40 H cm
$430
Recipient of the dedication:

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Technique
Acrylic painting
Type
One of a kind work
Material
Mounted Canvas
Dimensions
40 W x 40 H cm
Framing
No
Quality Guarantee
Sold with a certificate of authenticity

Acrylic on canvas. The edges are painted to extend the painting. It is signed on the back. Certificate of authenticity provided. Delivered flat (or in rolls on request).

Natalia Ostapenko
France
Emerging artist
  • KAZoART artist since 2021
  • 24 works

Natalia Ostapenko (b. 1990, Ukraine) is a visual artist based in Lille, France. She has developed a highly refined and graphic, abstract style, which creates kaleidoscopic, geometric compositions with carefully honed, evocative colour palettes. This rigorously executed approach draws on her past experience as a designer as well as making reference to historic painting movements such as the flattened nature of Cubist still lifes, expressive colour field painting and the intense luminosity of Impressionist landscapes. Her non-representational works hold strong associations with our visual experience of the world, for example, emulating the experience of changing light at dawn or the happy patchwork of intense summer colours in natural landscapes. Her work also references decorative applied and folk arts such as patchwork, marquetry and set painting, in its use of pattern, which Ostapenko gained knowledge about during her early studies. Ideas of collage are important in her work with some being reminiscent of cut-paper modernist works and others having a layered appearance, which creates depth. She plays with both symmetry and variation within her compositions. Her main materials are acrylic on canvas and each work is thoroughly researched and sketched in advance. Ostapenko has integrated airbrushing into her process, using it as a way to make subtle colour mixes and gradations but also to add narrative, for example, within Memories, 2021, a semi-opaque layer partly obscures the right hand side of the canvas, revealing the linear process of both the making of the painting and of memory.

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