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PEREVALSKY Evdokim

 

Ref. 029.134
"Rapsodia in blue"II
Oil on canvas
135 x 189 cm.
 

 

 

 

INFORMATION

 

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AVAILABLE WORKS

 
 
 
 

Evdokim Perevalsky
Kiev (Ucrania) 1970.

First studies in the Anglo-Ukrainian Academy of Fine Arts of Ukraine “T. Shevchenco” in Kiev (1988).
University formation in the Academy of fine Arts of Ukraine, in Kiev, graduating with the series of engravings titled “Demonology” (1994).
Member of the Artists Union of Ukraine since 1995.
Acts as a drawing, engraving and painting teacher at the Polygraphic Institute in Kiev (1995-1997)
From 1997 he lives and works in Catalonia (Spain).
His works are to be found in private collection in Ukraine, United States of America, Canada, Israel, France, Switzerland, Germany, Belgium, United Kingdom and Spain.
Have also been acquired by the Ukrainian Ministry of Culture, the Presidential Cabinet of the Ukraine Government, and the Gerona City Council (1995-1997).

HIS WORKS HAVE BEEN EXHIBITED IN

Spain
Barcelona.
Santiago de Compostela.
Platja d’Aro.
Madrid.
Marbella.
Girona.
Camprodón.
Almeria.

U.S.A.
Academy of Ukrainian Fine Arts in Chicago.

Portugal
Oporto.
Lisbon.

Belgium
Brussels.
Ghent .

France
París.
Lille.
Strasburg.
Arles sur Tech.
Perpignan.
Toulouse.

Netherland
Hague.
Amsterdam.

Italy
Milan.
Rome.

United Kingdom
London.

Ukraine
Biennial exhibitions in the Artists Union of Ukraine in Kiev.
Impreza. III International Biennial of Graphic Art in Ukraine.
Demonology. House of Ukraine in Kiev.
Discovery. Dail Art Gallery in Kiev.
400 years of the birth of Bogdam Cnelnitsky. Kiev.
Slavutich Galleru in Kiev.
Contemporary Ukrainian Art. Municipal Art Galería of Kiev.


PRESS REVIEWS

EVDOKIM PEREVALSKY AND HIS INNER CITIES

         The houses are reflections of the personality and the cities, groups of houses lined along the streets and avenues, or arranged around the squares, represent the universe. The roofs and balconies are the head and mind; the windows, the eyes and the doors the mouths which serve for speaking and kissing. The streets, if steep, valid in equal measure for ascending or descending, but the predisposition of each individual from one angle or another always leads to ascending or descending interpretations of the spirit. And when the sun shines fully on the façades, the tiles have the red energy of blood, the shutters are wide open and few blinds are down. In the majority of Edvokim Perevalsky’s paintings, the first sensation is that the painter transmits a message of solidarity and optimism, a positive affirmation that, as men and women, we have to journey together in the conquest of collective, so as to obtain individual happiness.
         Evdokim Perevalsky is Ukrainian. He was born on October 11th 1970 in Kiev – Kijrf in the language of the country – and has lived in Gerona since 1997. He arrived in Cataluña speaking Russian and Ukrainian as native tongues, but with good notions of English as he had studied in the Anglo-Ukrainian school of his city, capital of Ukraine since 1934 – Kiev – or Kijrf – had suffered badly during the Second World War and of the 850.000 inhabitants of 1939, only 200.000 remained in 1945, but soon it had the aptitude to rebuild its industry and the capital recovered economic drive. The Perevalsky family had a marked interest in the country’s culture, causing them diverse obstacles in a regime vigilant for uniformity of thought, language and politics within the USSR (Union of Soviet Socialist Republics). However, Edvokim Perevalsky – his christian name is the equivalent of Joachim and his surname signifies “rolling stone”- whose grandfather and father are painters, as is his sister, soon showed his abilities for sketch and colour and was predestined to follow a career in Fine Arts.
         If “Perevalsky” marked him as a rolling stone – life led Edvokim to become a wanderer – Ukraine signifies a frontier land and also leaves its mark. An extensive country with many natural resources, bounders on Belarus, Russia, Poland, Slovakia, Hungary, Rumania, Moldavia, the Black Sea and the Sea of Asov. Its history is convulsive with centuries of domination of one country over another and with the endemic evil of slavery which was the lot of the peasant classes. Facing all kinds of dangers, thousands of Ukrainians opted for emigration to the United States or Canada, and also to other European and American countries. The communist regime and the Russian dominance, impulsed from Moscow, led to the Ukrainian national sentiments, also repressed by the anterior czarist regime, gaining consistency. The destalinization of the 1960s, in the case of the Ukrainians, provoked a more intense derussianization. The national values, having achieved a notable implantation in the cultured classes as far as plastic arts and literature are concerned, received a new impulse in the recuperation of popular customs.
         Evdokim Perevalsky studied engraving and painting in the national school of Fine Arts of Ukraine, named after the great Ukrainian poet and painter, Taras Sevcenko. This man, son of a servant of the soil, showed a great capacity for letters and his boss sent him to study in St. Petersburg where his ideas of social justice were awakened. He manifested in favour of the oppressed classes, was arrested and deported to Orenburg where he began to paint. Man of Letters and plastic artist of the first order, he has become one of the glories of Ukraine and is well known by students of art throughout the western world. The same can be said of the Ukrainian painter, nationalized North American, Alexander Archipenko, famous in contemporary art.
         The artistic formation of Evdokim Perevalsky was at the same time, both classic and popular, as he reconciled the study of all time great works and the practice of engraving with iconographies based on Ukrainian legends and traditions. These are very rich in Slavonic iconography and combine rituals derived from the natural origins of the human being with christian beliefs. This is maybe why young Perevalsky, continuing his university studies in the Academy of Fine Arts in his native city, graduated with a series of engravings titled “Demonology”.
        The “demonos” – the demons – were, in the Greek conception, divine beings not attaining the category of gods, but with certain powers giving them influence over human destiny. They could protect, but also harm. Due to this negative aspect they were later considered evil and in the westen religious culture the actions of the demons are condemned since they oppose the divine benevolence. But we must return to the beginnings to remember the sin of pride, incurred by the fallen angels, and so enable us to comprehend, as explaind by Dionysius l’Aeropagita, that they were beings who had betrayed their natural goodness, with which they had been created. In this sense we must understand the “Demonology” with which the artist decided to graduate, containing a succession of subtle and occult references to the society in which he lived.
         After completing the reglamentary studies in 1994, the following year Evdokim Perevalsky joined the Ukrainian Union of Artists and soon took part in the biennial exhibitions organized by that body. He also took part in other collective shows in Kiev, of painting and also of engraving, and was selected to present works at the Ukrainian Academy of Fine Arts, in Chicago. His painting, always figurative, was very realistic and sought to describe urban scenes in a romantic sense. At that time, in my opinion, he projected himself better in engraving, which offered a greater liberty in combining reality with dreams. Since the artist was very young he needed to harmonize his anxieties with his ideas. In spite of all, his works drew the attention of art gallery owners and collectors, also official organization, all of whom bought his paintings and engravings.
        However, it came about, when since 1997 he decided to live and work in Cataluña – concretely in Gerona, with weekends in Camprodon – after visiting as a tourist diverse places throughout Spain, that he found his most representative style. He needed to find stability in accordance with his inmost feelings to be able to express, in his own way, his particular style. And Gerona – possibly also Besalu, Castellfollit de la Roca and other villages of Gerona – helped him to find what he was seeking.
         Years ago, in a booklet titled “Presence of Cataluña”, edited during the Spanish Civil War by the cultural services of the republican Generalitat, I read, among other texts in verse and prose dedicated by many diverse authors to exalt catalan regions, the description of Gerona written by Joaquin Ruyra. The excellent prose writer, who spent the greater part of his early youth in Blanes, but also studied in Gerona, recalled his impressions of the city seen from the Bridge of Stone over the river Onyar. Without really knowing why, some of the paintings of Evdokim Perevalsky, even though inspired by Besalu, Cadaques, Camprodon and places in Italy and Greece, brought to my mind that old piece of writing, which I searched for in my library, re-read and selected the following paragraphs:
        “From there – from the Bridge of Stone, said Ruyra – you see the houses of Gerona extending along the bank of the river, all malformed, uneven and coarse, forming a multicoloured group with a crowd of beggars dressed in patched clothing and all kinds of rags. No architect had created any one of their lines; they have grown with neither sense nor rule, following the sinuosities of the river and freely adopting, in full sight, the most convenient postures for throwing their slops into the water. The local police should have much to say on the matter, but the painter and the poet, who know how to prescind of certain miseries, are enchanted. There is richness of colour and exuberence of life, and something of divine instinct, which has presided over the formation of nests of swallows. And with its aspect of beggars and wretches, these houses have a young and merry spirit which emerges from the windows and balconies at the first ray of sunshine. The light finds myriad glass to reflect its golden waves; the wind finds all kinds of curtains to play as with pennants.”
        Actually as they are now seen by Evdokim Perevalsky, the façades at the back of the houses, overlooking the river, are cleaner, gayer and of fresher colours than when seen by Ruyra, who curiously bears the same christian name of Joachim. The city decided to dignify them and now we don’t think of the rags of the beggars, who formed groups begging alms. With the lofty heights of the cathedral’s cupola in the background, they are the example of a city on the go, which observes, intrigued, from the window glasses, blinds raised, the visitors, and keeps vigil over the locals. However, having established the natural differences which spring from the origin and the Ukrainian formation of the painter, we find coincidences in concept and interpretation with the writings of Ruyra. The latter, born in Gerona in 1858 and deceased in Barcelona in 1939, never thought of Ukraine and almost certainly Perevalsky, with whom I have never discussed this point, is surprised by the coincidence of situations established here. In human life, in spite of geographical separations and different cultural formation affecting people, there are surprising similarities that break the barriers between time and habit and relate them all – in particular artists, who enjoy special sensibilities – in the unity of concept.
         Almost always on the banks of rivers with still waters, or on the shores of a sea without waves, houses, villages and cities, which are formed by the houses, ones helping the others to grow towards skies without width, and suggesting torments, are expressions of internal realities. They resemble the existing ones because Perevalsky has seen them one by one and in small groups, but, projected as a whole in the paintings, they take on a new reality.
         The mind of the painter is what flows and through it we discover interior situations which affect us specifically and open up new perspectives, individual and collective. Evdokim Perevalsky acts instinctively as if he were a miracle worker in plastic, creating houses that have little to do with the external architecture and a great deal with the interior of the individual.

Josep Maria Cadena
Periodista y Crítico de Arte

 

 

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