Since 2008 Olha Kravchenko has been actively starting the exhibition creative activity developing the traditions of the Ukrainian iconography.
On the one hand, the artist refers to the Ukrainian iconography; on the other hand – to the pop culture. Indeed, in the range of the icons of the artist we see neo-Byzantine style: the reconsideration of the Byzantine art system in the construction process of the composition, its elements, the color space. Such a transformation causes decorative effect and conditionality of the works that, rather, bring the works of Kravchenko closer to “boychukists.”
There is the aspiration to create the contemporary in the form and the colouring of the creativity of the past in the Olya’s works (like in the boychukists’ works). That causes the simplicity of a drawing, an elegant background, the graceful rhythmicity of compositions, the perfect understanding of space and color. The application of a panel, gold, egg tempera is the consistent, the lifelong creation of the icon that acquires live sense.
Thematically, the Kravchenko’s works can be divided into two groups: the first, marked by the religious topic; the second, marked by her own, personal intentions. Being motivated by these intentions and remaining consistent in her creative activity the artist leaves the plot and the narrativity behind trying to avoid excessive and random elements that distract our attention from the idea of the work. In her works, gradually and with the support of installation and multimedia, Kravchenko gives new meaning to the sacral work.
The multidimensionality of the Olha Kravchenko creative works testifies to her openness to an experiment, her ability to reconsider life processes and, in the same time, to remain herself, with her own points of view and beliefs.
Oksana Marychevska,
art critic