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Fedchun Nelly Stepanovna

Fedchun Nelly Stepanovna

1937 г.р.


Soviet artist of arts and crafts, ceramist, sculptor. Member of the USSR Academy of Arts. Fedchun Nelly Stepanovna was born in 1937 in Krasnoarmeysk, Donetsk region. In 1968 she graduated from the Lviv State Institute of Applied and Decorative Arts. Member of the Union of Artists since 1986. Participant of republican, all-Union and international exhibitions: 1980 The 38th International Ceramics Competition. Faenza. Italy; 1985 Personal exhibition in the Lviv Art Gallery; 1986 The 44th International Ceramics Competition. Faenza. Italy; 1992 Exhibition of ceramics from Eastern Europe. Mobile exhibition. USA; 1992 Modern ceramics of Eastern European countries. Philadelphia. USA; 1992 1st exhibition of the gallery “STANBET”. In the work of Nelly Fedchun, the connection with the traditions of the people is not so immediate and outwardly practically not palpable. Her compositions express personal reflections on the course of time, about the changes taking place around, about the fate of a person. Based on the possession of technological capabilities of modern decorative ceramics, the author extensively uses expressive means borrowed from easel sculpture. In ceramic plastic almost always there is an image of a person – a figure, a torso, a face. With the dominant value of a finely modeled shape, color usually has an auxiliary role. The artist embodies her designs in ceramic layers, plates and volume-spatial compositions. A whole series of works is devoted to one theme – the life of a woman, her high appointment in the continuation of the human race (decorative layers of “Girls”, 1970, “Women and Trees”, 1970, “Motherhood”, 1970, “Women”, 1971, decorative plastics “Three women “, 1970, etc.) .. Such works are performed in stone mass or chamotte. The plastic solution is short-lived, the forms are generalized, the movements are thought out and expressive. Color plays the role of a common color of the ceramic mass, from which the composition is formed. Considerable attention is paid to the surface texture treatment. Numerous performances, cracks create the illusion of internal tension of plastic filled shapes. The author often uses a unique composition technique – in several parts of the work the theme is revealed gradually. A typical example is the decorative group “Three Women” (1970). Figures plastically generalized, presented conditionally, are devoid of excessive specification. One of the women holds a small tree in her hands – the eternal symbol of life, the other – in expectation of motherhood, in anxious rest. The third, with the child in his arms, is the embodiment of maternal joy. A similar development of the topic is observed in a series of layers “Morning, day, evening …” (1977). Central to each part of the triptych is the image of the torso, represented in different positions and angles. Individual parts of the composition symbolize the awakening, ascent and decay of vital activity during the day. However, the spectrum of associative action is much broader: the image of the torso casts thoughts on the evolution of ancient culture, the cyclicity of time. The beds are soft in shape, the low relief on their surface is finely modeled, outlined by an exquisite contour line. Color gradations emphasize the expressiveness of plastics. Associative connection with the ancient world, the desire to comprehend the fate of mankind is felt in many works by Nelly Stepanovna Fedchun. The best such work is a decorative composition “In memory of ancestors” (1986). Its formal solution is striking in its simplicity and expediency. The three sitting figures, male, female and childlike, resemble a mummy wrapped in cloth or a stone sculpture. Plastic moves in developing volume are expressive and confident. Thinly found proportional relationships in the arrangement of the main masses in each fragment in particular and in the ensemble as a whole. With the help of minimal means, the component parts of the work are given a certain individual characteristic. The male figure is massive, powerful, the female is softer in shape, the baby is smaller, fragile. The use of color is restrained, associated with the use of a specific technological method: thin, white, gray-blue and gray-green veins are included in the painted dark-gray porcelain mass. The whimsical colorful drawing of them is perceived as the remains of time-destroyed decor on the tissues. In a general context, a matte, velvety, slightly shiny surface of the shard sounds well. Artfully using the natural properties of the material, the author creates an original, deeply meaningful work that strikes with high emotional tension, inner drama. According to the nature of the plastic concept, Nelly Stepanovny’s works approach decorative sculpture, although in any case the use of certain ceramics is always advisable. The artist’s compositions are always original, aimed at active contact with the viewer. This is clearly manifested, in particular, in the decorative landscape “Landscape” (1978). The composition unfolds in a rectangle,

Photo: Rest, 1990, chamotte, porcelain, modeling, Property of the gallery “STANBET”. Moscow

Photo: Venus, 1992, chamotte, porcelain, modeling, Property of the gallery “STANBET”. Moscow