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Lipa Ganna-Oksana Yaroslavovna

Lipa Ganna-Oksana Yaroslavovna

1958 г.р.


Soviet Ukrainian artist of decorative and applied art. Member of the USSR Academy of Arts. Lipa Anna-Oksana Yaroslavovna was born on July 18, 1958 in the village of. Upper Meadow Starosambir. Lviv region. ) Honored Artist of Ukraine (2012). Of the Ob. claim. Prize them. S. Flint (2008). Member of NSHU (1990). She graduated from the Lviv Institute of Applied and Decorative Arts (1982, M. Gladkiy, D. Krvavich, I. Tomchuk, I. Frank). Works in Lviv: 1982-89 – artist-designer in-ta materials; simultaneously 1984-2007 – on experiment. ceramic-sculptures. f-ke. Chairman of the ceramics section of the Lviv organization NSHU (2002-05). Since 1986 – participant of all-Ukrainian, All-Union and international exhibitions, plein air. Personal – in Lviv (1989-90, 1998, 2001, 2004, 2007-09), Krakow (1996), Kiev (2001-02, 2012-13, 2015). For the creative work of L. characteristic philosophical understanding of life, the reference to primary sources, world culture of ceramic art, the monumentalization of forms, the transformation of symbols and plastic means through synthesis with other forms of art. Creates decorative dishes, reliefs, seams, vases, tea and coffee sets (more than 100 items have been introduced into the serial production), dzbanki, vases, monumental and decorative panels with pronounced national formative traditions, garden and park compositions using stone mass, porcelain, faience, pottery clay, chamotte; batikas, installations, picturesque compositions. He is also engaged in artistic design of interiors, exteriors. Some works are kept in the National Museum-Preserve of Ukrainian Pottery (Oposhnya Zenkov, Poltava Region), Lviv. the Art Gallery, the Museum of Ceramics (Boleslawiec, Poland). Works: painting – “Siren. Night “(1979),” The premonition of the flight “(1981), Leda, The Great Prodigal (both 1994), Klyuchivsky Wedding (2011), Svitoch (2012), the triptych Danae (2013) ; picturesque cycles – “Bereginya” (1995-96), “Spirits of Forgotten Ancestors” (2013), “Maydan” (2014) batic – “The Birth of a Flower” (1985), “People’s Motive”, “Star (Mother) The Tree of Life “(all – 1986),” The Birth of a Song “,” The Birth of Happiness “,” The Woman’s Portrait with a Siren “(all – 1987),” The Sea “,” Motherhood “(both 1989),” Sun “,” Golgotha ​​” “,” Muza “,” Long wait in sorrow “(all – 1990), the curriculum of the cycle -” Ave Maria “(1987-88),” Muse: Dedication of Ukraine “,” Transformation of Light “(both 1988-89) , “Calvary. Dedication to all the repressed “(1990),” Erotic transformation “(1990-93),” Matriarchy “(1990-94),” Conversation “(1994-96),” Bereginya “(1994-98),” Kaleidoscope “(1995 -97), “Icon of the Cross” (1996), “Catch of the Invisible Beast. Transmutations “(1998-2002),” In search of a goldfish “(1998-2004),” Hermeneutike. Language and space “(2002-06),” Poly + sema “(2004-08),” Krugovert “,” Origins “,” The Key-Ward “(all – 2006),” Pragatritsi “(2010); graphic cycles – “Muse” (1990-91), “The Sacred Land” (2007-08). Literature: Anna-Oksana Lipa: Catalog of the exhibition. L., 1990; Golubets O. “The altar” of Anna-Oksana Lipy // Artania. 1998. № 4; Onishchenko V. Meet: Oksana Lipa // Ukr. ceramol. journal. 2002. № 2; Pile I. Glazed Erotic // Politics and Culture. 2002, April 23-29; Lipa Anna-Oksana. Art ceramics, painting, graphics, installation, photography: Catalog. L., 2010. “Anna-Oksana Lipa is an artist with a semantically rich thinking,” says Roman Yatsiv, art historian, professor, pro-rector of the Lviv Academy of Arts. – Her propensity for archetypal modeling is the result of developed intuition, deliberate penetration of cultural memory into dense strata. The methodology, developed by her, absorbed not only an irrational formal-shaped search, but also a systematically logical rational work. This author can interpret the aesthetic nature of his works from the standpoint of spiritual practices. Signed elements, included in certain structures of ceramics and painting, have a scientific component. Consequently, the morphology of her compositions is connected with the transcendental perception of place and time. The artist operates with the concept of ritual, at the same time transforms it into the mechanics of aesthetic self-identification. Such complicated “procedures” influence the spiritual and formative integrity of Anna-Oksana Lipa’s works, highlighting her among contemporary Ukrainian artists who represent a new quality of understanding ethnic tradition. ”

Photo: At the opening of the jubilee exhibition in the halls of the main building of the National Museum (Lviv) named after Andrey Sheptytsky (painting, ceramics, graphics), Honored Artist of Ukraine Anna-Oksana Lipa under the name “Sacrum”.

Photo: Poster of the exhibition of Anna-Oksana Lipa under the name “Sacrum”

Photo: At the exhibition of artist Anna-Oksana Lipy

Photo: Decorator “Mutations” 2000 year, clay, chamotte, enamel

Photo: Decorative Muza plate 1990

Photo: Decorative plastic “Muse” from the cycle “Dedicated to Ukraine” 1989