Serhiy Kolyada developed an art style while still in university that makes his work highly individual - and hard to sell in Ukraine.
For over 15 years Kolyada has limited his art materials almost exclusively to construction paper and - ballpoint pens. His work is easily recognized, not only for its unique media but also for its frequently strident political commentary - and wide use of the human female form.
Now in his mid-30's with a pregnant wife and other responsibilities, Kolyada says that he continues to support himself with his artwork, but mainly through sales to foreigners in Ukraine and through a gallery in Sarasota, Florida. [http://kolyada.com/]
An online gallery that features Kolyada's work describes it as "gutsy reflections on money, power and gender issues in Ukraine." That description is probably right on target and also aptly illustrates the reasons that Kolyada's access to exhibition space in Ukrainian commercial galleries has been virtually non-existent.
The sales of Kolyada's work come primarily from private showings to foreigners, including a number for ambassadors and embassy staff. Still at odds with Ukraine's mainline art community - and particularly with the commercial galleries - Kolyada has on tap an exhibition in the cramped quarters of The Drum, a small downtown bar and restaurant that has been for years the main hangout for Kyiv's journalists and writers. The exhibition starts on September 16 with an indefinite closing date.
In keeping with his unique style, Kolyada refuses to name his artworks, and explains that "the viewer can give the title himself; I don't put his brains into definite frames."
That left the author of this article to come up with the titles you see on the art on this page. Kolyada did, however, agree to explain the pieces we chose to feature. The one marked "Ukrainian Mona Lisa" follows his frequent practice of combining images of beautiful women with social commentary. Regarding this one, Kolyada said, "In the background you see Andrievsky Uzviz with a commercial gallery and a dead fish. In that way I offer a hint about the way they treat my art."
About "Chornobyl Cat", Kolyada remarked, "I tried to show the horror of Chornobyl. You see just a cat and no people, because they all left."
In an even more obscure vein, Kolyada said that the artwork, "Computer" showed two people, Taras Shevchenko and Jesus Christ, with the point being, "...in future people maybe wouldn't even recognize Jesus when he comes for the second time."
Another, showing Jesus Christ as an inmate of a concentration camp, has much the same theme, Kolyada said, again expressing his belief that if Jesus Christ returned today, he might go unrecognized.
In the piece titled, "USA-September 11," Kolyada sharply breaks with tradition to offer a massive splash of colors. This was, Kolyada said, an attempt to "...show the horror of these events in New York in 2001. I used vivid colors to make it more expressive."
Still largely ignored in his own country, Kolyada becomes better known each day on the world art stage. On August 18, an Iranian online gallery website hit counter showed that its exhibit including Kolyada's art had registered 110,787 unique hits, an average of 252 per day with 7 visits in the hour before we checked it and 1,761 visits during the previous week.
Ukrainian galleries may ignore Kolyada but apparently the rest of the world is becoming more aware of his existence and his rather peculiar artistic tastes and skills.
Titles of works
1. Ukrainian Mona Lisa
2. Jesus Returns - Unrecognized
3. Computer
   
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