Liudmila Davydenko works around the notion of synergy, and this work is a concrete incarnation of this abstract idea.
She instills movement and vitality, disguising the static pictorial whole as a network, a machine in perpetual action. The energy given to the canvas is reminiscent of Cy Twombly's, and its dark mood echoes Anselm Kiefer's palette. Davydenko finds herself in an in-between position, reminiscent of Jackson Pollock's paintings.
Between verticality and rounded forms, Inversion 2 appears like a negative of Kiefer's Die orden der nacht. This colour reversal continues in the opposition between the subjects. While Kiefer takes a macabre stance in his work, Davydenko uses her talent to create a work filled with life.
The canvas is self-sufficient, acting as a sort of ecosystem. Like roots, the lines of paint spread and proliferate, seeming to sprout from a dark mass and rise to taste the light at the top of the canvas. Liudmila Davydenko creates a painting of saturated contrasts, an oil on black and white canvas that is almost photosensitive. These two shades come together in a common value, gray, which spreads across the entire surface and binds the two extremes that make up this system, so that it can thrive harmoniously and autonomously.
From life underground to the Internet and the speed of neural transmission, we see the almost mystical interweaving of the cogs governing the most complex structures.
The work functions at once as an extended constellation network, a timeless horizon or a microscopic sample of connecting systems: synergy on every scale.