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So often do we speak of the work of the artist as a struggle in pursuit of beauty, that often we forget that throughout history such struggle has been far more literal. In Kezzyn’s Masha and the Bears, the eponymous Russian fairy tale is channeled into a reminder of the contrast between beauty and militant aggression which crops up again and again in our myths and in real history. Masha stands amongst her football-hooligan Bears, a portrait of imperious command ensconced in a swirl of scarcely-implicit violence. Kezzyn has devoted this picture to Helen of Troy, which prompts an insightful question: Masha and Helen have weaponized their beauty— what an artist seeks to capture and distill, they deploy in the service of earthly aims. But as both Masha and her forbearer stand amid the rising tide of masculine lust and anger they invoke, one wonders: Are they really the ones in control?
Kezzyn's work recalls all the extremities of Goya and Spanish old masters, combining it with a playful reminiscence of the colorful humor of the 17th century Dutch Golden Age.
He forces us to acknowledge that "the tragic" is "the comic"―life mandating us to carry on in the face of our own discomfort. Kezzyn introduces delight into the controversy of watershed moments when we must decide when to laugh or cry at the circumstances we find ourselves in.
Bursts of color are attenuated with a sensual commitment to uphold the tension between integrity and degradation in the human form through light motifs. His mastery of light heighten the onlooker’s emotions, hiding in places we usually don’t dare travel alone, even in dreams. The works do nothing less than reinvent painting with a camera. He simultaneously challenges us with a nightmarish and honest repertoire of displays of the human condition; all subject-matter one can easily imagine turning into a living theater.
Contract Address0x495f...7b5e
Token ID
Token StandardERC-1155
ChainEthereum
MetadataCentralized
Creator Earnings
Masha and the Bears
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AwakeningGallery
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Masha and the Bears
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So often do we speak of the work of the artist as a struggle in pursuit of beauty, that often we forget that throughout history such struggle has been far more literal. In Kezzyn’s Masha and the Bears, the eponymous Russian fairy tale is channeled into a reminder of the contrast between beauty and militant aggression which crops up again and again in our myths and in real history. Masha stands amongst her football-hooligan Bears, a portrait of imperious command ensconced in a swirl of scarcely-implicit violence. Kezzyn has devoted this picture to Helen of Troy, which prompts an insightful question: Masha and Helen have weaponized their beauty— what an artist seeks to capture and distill, they deploy in the service of earthly aims. But as both Masha and her forbearer stand amid the rising tide of masculine lust and anger they invoke, one wonders: Are they really the ones in control?
Kezzyn's work recalls all the extremities of Goya and Spanish old masters, combining it with a playful reminiscence of the colorful humor of the 17th century Dutch Golden Age.
He forces us to acknowledge that "the tragic" is "the comic"―life mandating us to carry on in the face of our own discomfort. Kezzyn introduces delight into the controversy of watershed moments when we must decide when to laugh or cry at the circumstances we find ourselves in.
Bursts of color are attenuated with a sensual commitment to uphold the tension between integrity and degradation in the human form through light motifs. His mastery of light heighten the onlooker’s emotions, hiding in places we usually don’t dare travel alone, even in dreams. The works do nothing less than reinvent painting with a camera. He simultaneously challenges us with a nightmarish and honest repertoire of displays of the human condition; all subject-matter one can easily imagine turning into a living theater.
Contract Address0x495f...7b5e
Token ID
Token StandardERC-1155
ChainEthereum
MetadataCentralized
Creator Earnings
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