With this painting, Artem Andreichuk doesn't simply invite us to contemplate the mountainous Carpathian landscape, he goes one step further by plunging us directly into the creative process.
Andreichuk uses three patterns (the mountains, the banana tree and the circles) as a pretext to highlight his brush and dissect his own technique.
The Carpathian invade the canvas with multiple flat areas of colour. From white with a blue-grey sheen to charcoal black, Andreichuk creates a camaïeu that testifies to his sense of colour. He alternates shades of blue, violet and pink, reminiscent of Impressionist experiments in the wake of Goethe's chromatic theories.
Andreichuk reconciles the modern duel between the colourist Venetian painters and the Florentine draftsmen by choosing to marry his solid colours with his black lines, thus bringing out the relief of the Carpathian. Volumes emerge under his lines, the fruit of the artist's precision and spontaneity, testifying to both a mastery and a certain release of the creative gesture.
Banana trees, a recurring motif in Andreichuk's work, also serve to illustrate the creative process. It is possible to distinguish the three stages that traditionally punctuate the creation of a work: the study drawing (top center), the sketch on canvas (center) and then the colouring (left). Andreichuk exposes us to the creative evolution, as if revealing the secrets of his studio with this iconography so particular to the history of art (thanks Andy Warhol!). Indeed, the gradation of colours in the banana trees resonates with the circles scattered across the canvas. However, these perfect circles also contrast with the rest of the work, as they look like pochoirs or stamps. Andreichuk introduces new, more contemporary ideas this time with the almost mechanical multiplication of these circles, breaking with the single lines of his brush. Between serial stamping, drawing and the use of acrylic, Andreichuk imposes a history of creation in all its forms and evolutions.