"In Memory of Mona 1".

x.m.110x110 2026

This is a work about the dialogue of — about the rare case when the artist enters the workshop of impressionism not as a guide, but as an equal interlocutor. Kovalchuk takes Monet's most vulnerable — from his water garden, his water lilies, his — light and does not copy, but reassembles this poetics on his own color breath.

The composition is built vertically, as if looking down through the greenery to the very depth of the water. —'s upper register is a thick, almost tactile wall of grass and foliage, in which golden-yellow brushstrokes work like rays punching through the crown. The middle plan belongs to the water lilies: round leaves, collected from turquoise, olives and gray-blue halftones, lie on the surface of the water not with a decorative pattern, but with a living, breathing organism. Their boundaries are given not by the contour, but by the temperature of —, where the sheet goes into the shadow, it suddenly becomes purple, and this decision speaks of a real understanding of optical color.

The key accent of — is a single crimson pink flower. It is sandwiched between the mass of greenery and the mass of water, but it is he who holds the entire composition, as the focal point holds the image in the eye. This is the point of life, the flash around which the whole world is built.

The bottom third of —'s canvas is the boldest place to work. The water goes into deep ultramarine and black emerald darkness, vertical strokes capture the tremor of reflections, and pink glimpses on the dark surface of — echo the flower and sunset at the same time. Here the painting becomes almost abstract: Water is not written as an image of water, but as a feeling of its depth, its coldness, its ability to store light.

In the manner of —, a pastous, impulsive texture, a large handwriting, a smear that does not hide anything and does not iron. Kovalchuk works the way the Impressionists breathe: not describing a thing, but fixing the moment of its existence. But if Monet sought to dissolve the form in light to the limit, Kovalchuk returns to this motif the density, materiality, almost sculptural mass of paint. It's not a memory of Giverny —, it's Giverny relived, in the 21st century, by the hand of an artist for whom the color — is matter, not an illusion.

*The text is ready for exposition catalogue or gallery annotation. The size of the canvas can be specified, if necessary, — will be inserted in the first line.*