By LUSYA YANGIROVA
The painting practices of Mariia Denysenko and Natalia Kungurova confidently align with the contemporary European tradition of fine art. Both artists favour abstraction over figurative narrative, choosing to prioritise the freedom of viewer interpretation. What unites their approach is a shared sense of experimentation — a dialogue between academic foundations and more fluid, exploratory decisions.
Abstract painting speaks the language of emotion and state of being. As a genre, it resists a singular or rigid reading. In the work of both artists, painting becomes a visual echo of their internal rhythms — rhythms that resonate instinctively with the viewer.
Mix Feelings by Mariia Denysenko
Mariia Denysenko’s series Mix Feelings, comprising two canvases, leans towards the legacy of abstract expressionism. Her vibrant palette — rich with contrasts between deep greens, soft blues, and a red tinged with orange — creates an emotional atmosphere that the artist herself describes as an “emotional journey.” This journey is not directed by linear narrative, but by immersion — the colours and gestures guiding us through states of tension, release, and reflection.
Large areas of colour and sweeping brushstrokes command the viewer’s attention, delivering a visual intensity that borders on the dramatic. Though figuration may seem to surface at times — as though a figure might be emerging from the composition — it remains an illusion, quickly dissolving into colour and form. Red appears to function as a central rhythmic device in this series. It anchors the viewer’s gaze, acting almost as a visual metronome against the more subdued tones surrounding it. The red doesn’t shout, but it insists — energising the entire composition and pushing the emotional tempo forward.
In certain works, the suggestion of figuration is built not through shape but through palette. This method draws a subtle line back to Wassily Kandinsky’s theoretical text Point and Line to Plane, in which the pioneer of abstraction treated painting as a system of relationships — colour and form becoming analytical tools rather than merely expressive ones. Denysenko’s work offers a contemporary echo of this lineage, yet remains unburdened by rigid theory, allowing intuition and emotion to rise to the surface.
Deformation and Confluence by Natalia Kungurova
Natalia Kungurova’s paired works Deformation and Confluence seem to be in direct conversation with one another — not in harmony, but in tension. Where one speaks of quietude and equilibrium, the other bursts with movement and energetic disruption.
Kungurova cites Gerhard Richter as a major influence, and this dialogue with the German master is evident in her sensitivity to colour. Her compositions are less about contrast and more about flow — soft lilacs and azure blues interspersed with white, forming an atmospheric, near-liquid surface. Despite her use of acrylics, her technique evokes the fluid transitions of watercolour — with gradients that bleed gently into one another and a sense of translucency that allows each colour to “breathe.”
Though the paintings vary in mood, they are united by their palette and by Kungurova’s deliberate focus on texture. In both works, the artist plays with undulating, wave-like brushwork — building not just imagery but sensation. The result is a flowing visual rhythm that feels almost tactile.
Her exploration of maritime themes is particularly subtle — rather than depicting seascapes directly, Kungurova isolates elements such as “sea foam,” transforming them into abstract forms. This approach recalls a lineage of imagery stretching from the mythological (The Birth of Venus) to the monstrous (the rise of the Kraken in popular culture). The marine becomes a metaphor, fragmented and reassembled into new emotional contexts.
Her preference for small formats is also noteworthy. Presented in a mosaic-like installation, these works function as modular elements — each piece part of a larger visual conversation. They encourage close looking and quiet contemplation, rewarding attention with detail.
Non-objective art always leaves space for interpretation, while simultaneously raising questions about the role of intuition versus intention. In the work of Natalia Kungurova and Mariia Denysenko, we see a compelling fusion of emotional spontaneity with thoughtful, deliberate use of composition and colour. Their painting practices are testaments to how abstract art, when rooted in personal rhythm and aesthetic clarity, continues to invite — and reward — deep engagement.
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