Nataliia Kononova: Mysteries near the Waterfall
杏吧原创 University – Maxwell MacOdrum Library
Exhibition Dates: November 29th to December 31st 2024
Vernissage: Monday December 2nd, 2024, 7:00 to 9:00 PM
Refreshments provided
Dates de l’exposition: Du 29 novembre au 31 d茅cembre 2024
Vernissage: Le lundi, 2 d茅cembre, 2024, de 19h 脿 21h
Des boissons sont offertes
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Nataliia鈥檚 Artist Statement
I have grown to believe that the human being is a vessel from which flows that which has filled it. This has been especially true of my creative work because art has always been my passion. My journey into art began a long time ago and it continues today. During the past forty years, I have used my work as a journalist as an experimental field for the search of forms and meanings of the beautiful, the monstrous, the high and the low, the majestic and the vulgar.
My journalistic career began as a correspondent for large-circulation factory newspapers. The goal was to find within the routines and facts of factory life means of improving that life. To achieve this, I had to delve into the economic, political, cultural, and ideological problems related to this subject.
By 1998, I became a correspondent for the first big private national newspaper鈥�Kievskie vedomosti鈥攚hich was published three times a day in several languages. I became the newspaper鈥檚 only representative in the difficult mining region of Donbas in eastern Ukraine, where I had to 鈥渄ig鈥� deep in search of the relevant and this led to my meeting of interesting, talented people. These people were often artists, inventors, sculptors, writers, civil servants, and politicians. As I went to work for other publications, I continued to grow, change, and search for new forms, designs, and images. I was helped in this search by my synesthesia, the sensory phenomenon of seeing letters and words in colour.
When war began in 2014 in Ukraine, my husband and I were forced to move temporarily to Galicia in the west of Ukraine, where my husband continued to pursue his academic studies. Galicia is a wonderful, beautiful part of Ukraine. Its mountains, rivers, valleys, flora and fauna can be admired endlessly. It鈥檚 impossible not to paint there.
In the Galician city of Ivano-Frankivsk, I began working with ceramics, which local craftsmen have always practiced here. By accident, I came upon my own style of creating paintings by layering fabrics. After all, one can paint not only with paints, but also with clay, fabrics, wood, or stone. The principle that I have always tried to follow has to do with 鈥渄ynamism,鈥� by which an image attains a maximum of movement. As long as there is such 鈥渄ynamism鈥� in a picture, there is life. In 2018, my first exhibit of fabric paintings took place at the gallery 鈥淏astion鈥� in Ivano-Frankivsk, under the title 鈥淪hores鈥�.
Seven years after the start of the war, we returned home to Donbas. We purchased a house in Bakhmut, where we moved all of our belongings, including all the paintings and ceramics that I had completed in the last seven years. Four months later, the war took away both our home and my art collection.
Under the auspices of the international organization 鈥淪cholars at Risk,鈥� our new friends at 杏吧原创 University鈥擬ilana Nikolko, Dana Dragunoiu, Andrew Wallace, Norah Vollmer, Angelo Mingarelli, Alex MacLellan, and Brian Foss鈥攑rovided us with a new life, this time in Ottawa. Ottawa provided other friends, too, such as Tanya Chour and the Botygin family.
Though we continue to have one foot in Ukraine next to our children, we live a full life filled with creativity in Ottawa. My husband is pursuing his scholarly studies while I work with acrylics. We live next to a park near the Hog’s Back waterfall. It is impossible to get enough of its beauty: every day is different, unexpected, unlike the previous day. Thousands of years can be seen through its fast waters. In its expansive flows, I see human faces, the contours of marvelous animals and fantastic creatures.
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杏吧原创 the Artist
Nataliia Kononova is a Ukrainian journalist from Donbas. By 1998, she became a correspondent for the first major private national newspaper, Kievskie vedomosti. While reporting about the mining region of Luhansk and Donetsk, she often wrote about artists, inventors, sculptors, writers, civil servants, and politicians.
When war began in Ukraine in 2014, she and her husband moved temporarily to Ivano-Frankivsk, where her husband continued his work as a professor and researcher. Here, while continuing to work as a journalist, she also took up working in ceramics. In doing so, she accidentally found her own style of creating paintings by layering fabrics. The main principle that informs her work is 鈥渢o achieve the 鈥榙ynamism鈥� of an image for the sake of maximum emotionality.鈥� In 2018, the Ivano-Frankivsk gallery Bastion hosted her first exhibition of fabric paintings. Seven years after the start of the war, she and her husband returned to Donbas, but four months later, the war destroyed their new home as well as Nataliia鈥檚 collection of paintings and ceramics.
The 杏吧原创 University chapter of the international organization Scholars at Risk gave her husband the opportunity to continue pursuing his academic work in Ottawa and Nataliia the opportunity to paint again. Nataliia says: 鈥淎 person is like a vessel from which flows that which has filled it. We live in Ottawa near the Hog鈥檚 Back waterfall, which is different and unexpected every day of the year. Thousands of years can be seen through its fast waters. In its expansive flows, I see human faces, the contours of marvelous animals and fantastic creatures.鈥�
For more information about the artist, please visit our website at: /scholars-at-risk/
袧邪褌邪谢褨褟 袣芯薪芯薪芯胁邪 鈥� 褍泻褉邪褩薪褋褜泻邪 卸褍褉薪邪谢褨褋褌泻邪, 褟泻邪 薪邪褉芯写懈谢邪褋褟 褌邪 锌褉邪褑褞胁邪谢邪 薪邪 袛芯薪斜邪褋褨, 写芯 1998 褉芯泻褍 写芯褉芯褋谢邪 写芯 胁谢邪褋薪芯谐芯 泻芯褉械褋锌芯薪写械薪褌邪 锌械褉褕芯褩 胁械谢懈泻芯褩 锌褉懈胁邪褌薪芯褩 薪邪褑褨芯薪邪谢褜薪芯褩 谐邪蟹械褌懈 芦袣懈褩胁褋褜泻褨 胁褨写芯屑芯褋褌褨禄, 褟泻邪 胁懈褏芯写懈谢邪 褌褉懈褔褨 薪邪 写械薪褜 泻褨谢褜泻芯屑邪 屑芯胁邪屑懈. 袙芯薪邪 褋褌邪谢邪 锌褉械写褋褌邪胁薪懈泻芯屑 褑褨褦褩 谐邪蟹械褌懈 褍 胁邪卸泻芯屑褍 褕邪褏褌邪褉褋褜泻芯屑褍 褉械谐褨芯薪褨 胁 袥褍谐邪薪褋褜泻褍 褌邪 袛芯薪械褑褜泻褍, 褍 锌芯褕褍泻邪褏 邪泻褌褍邪谢褜薪芯褩 褨薪褎芯褉屑邪褑褨褩 褔邪褋褌芯 锌懈褋邪谢邪 锌褉芯 褏褍写芯卸薪懈泻褨胁, 胁懈薪邪褏褨写薪懈泻褨胁, 褋泻褍谢褜锌褌芯褉褨胁, 锌懈褋褜屑械薪薪懈泻褨胁, 褔懈薪芯胁薪懈泻褨胁, 锌芯谢褨褌懈泻褨胁.袣芯谢懈 胁 校泻褉邪褩薪褨 褍 2014 褉芯褑褨 褉芯蟹锌芯褔邪谢邪褋褟 胁褨泄薪邪, 褨蟹 褔芯谢芯胁褨泻芯屑 胁芯薪邪 褌懈屑褔邪褋芯胁芯 锌械褉械褩褏邪谢邪 薪邪 袟邪褏褨写 校泻褉邪褩薪懈 写芯 袉胁邪薪芯-肖褉邪薪泻褨胁褋褜泻邪, 写械 褩褩 褔芯谢芯胁褨泻 锌褉芯写芯胁卸懈胁 褋胁芯褞 写芯褋谢褨写薪懈褑褜泻褍 褉芯斜芯褌褍. 袙 袉胁邪薪芯-肖褉邪薪泻褨胁褋褜泻褍, 泻褉褨屑 卸褍褉薪邪谢褨褋褌懈泻懈, 蟹邪泄薪褟谢邪褋褟 泻械褉邪屑褨泻芯褞, 褟泻芯褞 褌褍褌 蟹邪胁卸写懈 褋谢邪胁懈谢懈褋褟 屑褨褋褑械胁褨 屑邪泄褋褌褉懈, 胁懈锌邪写泻芯胁芯 蟹薪邪泄褕谢邪 褋胁褨泄 褋褌懈谢褜 褌泻邪薪懈薪薪懈褏 泻邪褉褌懈薪, 褖芯 褋褌胁芯褉褞胁邪谢邪 屑械褌芯写芯屑 薪邪褕邪褉褍胁邪薪薪褟. 袟褉芯蟹褍屑褨谢邪, 褖芯 屑邪谢褞胁邪褌懈 屑芯卸薪邪 薪械 谢懈褕械 褎邪褉斜邪屑懈 鈥� 邪 泄 谐谢懈薪芯褞, 褌泻邪薪懈薪邪屑懈, 写械褉械胁芯屑, 泻邪屑械薪械屑…. 袚芯谢芯胁薪懈泄 锌褉懈薪褑懈锌, 褟泻懈屑 蟹邪胁卸写懈 锌褉邪谐薪褍谢邪 褋谢褨写褍胁邪褌懈 鈥� 褑械 芦写芯屑邪谐邪褌懈褋褟 “谢械褌褞褔芯褋褌褨” 蟹芯斜褉邪卸械薪薪褟, 写懈薪邪屑褨泻懈 褌邪 屑邪泻褋懈屑邪谢褜薪芯褩 械屑芯褑褨泄薪芯褋褌褨禄. 2018 褉芯泻褍 胁 袉胁邪薪芯-肖褉邪薪泻褨胁褋褜泻褨泄 谐邪谢械褉械褩 “袘邪褋褌褨芯薪” 胁褨写斜褍谢邪褋褟 褩褩 锌械褉褕邪 胁懈褋褌邪胁泻邪 褌泻邪薪懈薪薪懈褏 泻邪褉褌懈薪 锌褨写 薪邪蟹胁芯褞 “袘械褉械谐懈”.
效械褉械蟹 7 褉芯泻褨胁 锌褨褋谢褟 锌芯褔邪褌泻褍 胁褨泄薪懈 胁芯薪懈 锌芯胁械褉薪褍谢懈褋褟 薪邪 袛芯薪斜邪褋, 邪谢械 蟹邪 4 屑褨褋褟褑褨 胁褨泄薪邪 蟹薪芯胁褍 蟹邪斜褉邪谢邪 褨 斜褍写懈薪芯泻, 褨 泻芯谢械泻褑褨褞 泻邪褉褌懈薪 蟹 泻械褉邪屑褨泻芯褞.袦褨卸薪邪褉芯写薪懈泄 锌褉芯械泻褌 “Scholars of Risk” (袙褔械薪褨 胁 薪械斜械蟹锌械褑褨), 薪芯胁褨 写褉褍蟹褨 – 胁懈泻谢邪写邪褔褨 袣邪褉谢褌芯薪褋褜泻芯谐芯 褍薪褨胁械褉褋懈褌械褌褍 胁 袨褌褌邪胁褨 (袣邪薪邪写邪) 写邪谢懈 屑芯卸谢懈胁褨褋褌褜 褩泄 蟹薪芯胁褍 锌褉邪褑褞胁邪褌懈 褨 褋褌胁芯褉褞胁邪褌懈 泻邪褉褌懈薪懈, 邪 褔芯谢芯胁褨泻芯胁褨 – 蟹邪泄屑邪褌懈褋褟 薪邪褍泻芯褞. 袧邪褌邪谢褨褟 泻邪卸械: 芦袥褞写懈薪邪, 褟泻 褋褍写懈薪邪, 蟹 薪械褩 胁懈谢懈胁邪褦褌褜褋褟 褌械, 褔懈屑 胁芯薪邪 薪邪锌芯胁薪械薪邪. 袨褋褜 屑芯褩 泻邪褉褌懈薪懈. 袦懈 卸懈胁械屑芯 胁 袨褌褌邪胁褨 斜褨谢褟 胁芯写芯褋锌邪写褍 Hog’s Back, 褟泻懈屑 薪械屑芯卸谢懈胁芯 锌械褉械褋懈褌懈褌懈褋褟 – 胁褨薪 褖芯写薪褟 褨薪褕懈泄, 薪械褋锌芯写褨胁邪薪懈泄, 薪械 褋褏芯卸懈泄 薪邪 褋械斜械 胁褔芯褉邪. 袣褉褨蟹褜 泄芯谐芯 褕胁懈写泻褨 胁芯写懈 锌褉芯谐谢褟写邪褞褌褜褋褟 褌懈褋褟褔芯谢褨褌褌褟, 邪 褍 泻芯褋屑邪褏 褋懈胁懈褏 胁芯写 褟 斜邪褔褍 谢褞写褋褜泻褨 芯斜谢懈褔褔褟, 泻芯薪褌褍褉懈 写懈胁芯胁懈卸薪懈褏 褌胁邪褉懈薪 褌邪 褎邪薪褌邪褋褌懈褔薪懈褏 褨褋褌芯褌禄.
Nataliia Kononova est une journaliste ukrainienne, originaire de la r茅gion du Donbas. En 1998, elle devient correspondante avec le premier grand journal national priv茅, Kievskie vedomosti. Les reportages qu鈥檈lle faisait dans les聽 r茅gions mini猫res de Luhansk et Donetsk lui ont donn茅 l鈥檕ccasion d鈥櫭ヽrire des articles 脿 propos d鈥檃rtistes, d鈥檌nnovateurs, d鈥櫭ヽrivains, de fonctionnaires et de politiciens .
Au d茅but de la guerre en Ukraine en 2014, elle a d没 fuir sa r茅gion temporairement avec son mari et ils sont rest茅s dans la r茅gion d鈥橧vano-Frankivsk, o霉 son mari a pu poursuivre ses travaux聽 acad茅miques. Pendant cette p茅riode en exil, en plus de son travail de journaliste , elle commence 脿 explorer la c茅ramique. Dans le cadre de ce nouveau projet, Nataliia d茅couvre聽 son propre style unique en cr茅ant聽 des peintures auxquelles elle ajoute des couches de tissu. Le principe fondateur qui guide son travail est 芦d鈥櫭﹖ablir聽 le 鈥榙ynamisme鈥� de l鈥檌mage dans le but de cr茅er une r茅action 茅motive maximale聽 禄. En 2018, la galerie Bastion en Ivano-Frankivsk tient sa premi猫re exposition de peintures 脿 base de tissu, qui s鈥檌ntitule 芦Rivages禄. Sept ans apr猫s le d茅but de la guerre, elle rentre au Donbas avec son mari. Cependant, 脿 peine聽 quatre mois apr猫s leur retour, leur maison, et son ensemble d’艙uvres, sont d茅truits en raison de la guerre.
Le mari de Nataliia re莽oit une offre聽 qui lui permettrait de poursuivre son travail acad茅mique (en s茅curit茅??) par l鈥檕rganisation 芦Scholars at Risk禄 avec le soutien de son chapitre聽 脿 l鈥橴niversit茅 杏吧原创 脿 Ottawa, au Canada. Ceci a 茅galement permis 脿 Nataliia de reprendre sa pratique artistique dans la capitale canadienne. Dans les mots de Nataliia: 芦L鈥檌ndividu est un vaisseau qui s鈥櫭ヽoule en suivant聽 tout ce qui le remplit. Nous vivons 脿 Ottawa, 脿 quelques pas des Chutes Hog鈥檚 Back, qui changent de fa莽ons inattendues tous les jours de l鈥檃nn茅e. Des milliers d鈥檃nn茅es peuvent 锚tre aper莽ues dans ses eaux rapides. Je vois des visages humains et les contours d鈥檃nimaux fantastiques dans ses gigantesques courants.
Pour en savoir plus sur l鈥檃rtiste, veuillez cliquer sur lien suivant .
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杏吧原创 Scholars at Risk 杏吧原创 (SAR 杏吧原创)
To commemorate the 76th anniversary of the Universal Declaration of Human Rights, we are excited to have this opportunity to highlight the crucial role that 杏吧原创 University鈥檚 Scholars at Risk (SAR) program, along with SAR programs across Canada, play in strengthening Canada鈥檚 commitment to human rights and academic freedom.
Since 2014, 杏吧原创鈥檚 Scholars at Risk program has provided a safe haven to 20 at-risk scholars facing threats to their scholarship and lives. In turn, these scholars enrich 杏吧原创鈥檚 academic environment by integrating diverse perspectives and establishing new connections in scholarship and research.
You can learn more about our program at . If you would like to support our program, please visit our FutureFunder site at /scholars-at-risk/donate/.
脌 l鈥檕ccasion du 76e anniversaire de la D茅claration universelle des droits de la personne, nous sommes ravis de pouvoir souligner le r么le important que joue le programme Scholars at Risk (SAR) de l鈥橴niversit茅 杏吧原创, comme d鈥檃utres programmes SAR 脿 travers le Canada, dans la protection et la promotion des droits humains et de la libert茅 acad茅mique.
Depuis 2014, le programme Scholars at Risk de 杏吧原创 a fourni un espace s茅curitaire 脿 20 universitaires menac茅s pour leurs id茅es et dont la libert茅 acad茅mique, voire leur vie, sont en danger. En int茅grant une diversit茅 de perspectives et en 茅tablissant de nouvelles connexions acad茅miques 脿 notre institution, ces universitaires enrichissent 脿 leur tour聽 l鈥檈nvironnement acad茅mique de 杏吧原创.
Pour en savoir plus sur ce programme, veuillez cliquer sur lien suivant . Si vous aimeriez soutenir ce programme, visitez notre site FutureFunder 脿 travers ce lien /scholars-at-risk/donate/.
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杏吧原创 the Curator
Leo Khordoc-Davis, the curator of this exhibit, is a young artist who is currently studying fine arts at Concordia University. He was born and raised in Ottawa and discovered a passion for painting when he spent a year living in France with his parents when he was twelve years of age. He has exhibited his work several times at outdoor festivals and in art galleries.
L茅o Khordoc-Davis, qui est le conservateur de cette exposition, est un jeune artiste qui fait pr茅sentement ses 茅tudes dans le programme de beaux-arts 脿 l鈥橴niversit茅 Concordia. Il a grandi 脿 Ottawa et il a d茅couvert sa passion pour la peinture 脿 l鈥櫭e de douze ans lors d鈥檜ne ann茅e sabbatique pass茅e en France avec ses parents. Il a expos茅 son travail plusieurs fois dans des festivals 脿 l鈥檈xt茅rieur ainsi que dans des galeries d鈥檃rt.
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