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LA TRAVERSÉE, Natalia Tykhoniuk, 2025

€0.00

La Traversée is a sculptural painting from the Intermundia series. The work exists in a suspended state between rupture and continuity, where material itself becomes the carrier of memory. Built from layered paper clay, ash, charcoal, and mineral pigments, the surface develops as a stratified terrain. Horizontal layers accumulate and erode, while a vertical fissure marks a point of transition - a crossing. The material is allowed to live and change. Cracks, density, and irregularities emerge naturally, holding traces of time and transformation. The work embodies movement through rather than representation. La Traversée speaks of endurance and continuation - of meaning that remains after pain has passed, altered but intact.

Medium : Acrylic, Charcoal on Canvas

Dimensions : 39.4x27.6 in | 100×70 cm

Other details : Artwork on supported wooden frame. Ready to hang. Framing on request.

La Traversée is a sculptural painting from the Intermundia series. The work exists in a suspended state between rupture and continuity, where material itself becomes the carrier of memory. Built from layered paper clay, ash, charcoal, and mineral pigments, the surface develops as a stratified terrain. Horizontal layers accumulate and erode, while a vertical fissure marks a point of transition - a crossing. The material is allowed to live and change. Cracks, density, and irregularities emerge naturally, holding traces of time and transformation. The work embodies movement through rather than representation. La Traversée speaks of endurance and continuation - of meaning that remains after pain has passed, altered but intact.

Medium : Acrylic, Charcoal on Canvas

Dimensions : 39.4x27.6 in | 100×70 cm

Other details : Artwork on supported wooden frame. Ready to hang. Framing on request.

‘‘I was born in a city that no longer exists as it was. Mariupol - once sea and sand, now ash and absence. Yet even what disappears leaves its trace. That trace is what I follow.


I live now in Zurich, but my hands still carry the earth of elsewhere. I grind straw, soil, bark, ash into matter that resists beauty. These are not materials chosen - they are what remains.


I am close to Arte Povera, because in the poverty of matter lies genius: the truth that nothing is too small to hold memory. I am close to wabi-sabi, because time itself writes through imperfection, through cracks, through silence.


My vessels and wall pieces are not objects. They are witnesses. Companions of dust and silence. Fragile, yet enduring. They stay when all else is gone.’’