Recognition of the creation of the painting "The Soul of Harlequin", artist - Iryna Lupashchenko

Описание: My attentive viewer. Thank you for joining me on this channel dedicated to art and painting. You are back in the studio of artist Iryna Lupashchenko. We are taking a break from color to focus on form and mood in monochrome. This video explores philosophy, the search for shape, the conciseness of an idea—it's about how a minimum of color can convey a maximum of emotion. What resonates with you more: an explosion of emotion in full color, or the restrained depth of monochrome? Where does the hidden magic—and the power—of grayscale lie? How do you paint with your soul, rather than with a palette? I will answer these questions through the lens of my work titled "Soul of Harlequin." This piece is a synthesis, a meeting point of theatrical art and painting. I believe that theatrical creativity has profoundly enriched my experience in painting. It became vital to merge these two distinct art forms—and "Soul of Harlequin" marked the beginning of this unusual synergy. The painting appears almost graphic, intentionally focusing the viewer's gaze on Harlequin’s crossed and bound hands. His movements are constrained. His possibilities, limited. The entire world around him is black and white. This restriction is emphasized by a stark red bandage around his wrists. Yet, despite the circumstances—or perhaps because of them—vibrant butterflies flutter from his hands, and the monochromatic world transforms. A frozen, almost sculptural image turns into something alive, rebellious, and provocative. All thanks to a small accent of red. In every play I design, the scenography must be active. Transforming ordinary objects—like a red cloth or bright butterflies—into symbols of a cosmic scale: freedom and the struggle for it. This principle of "active scenography," indispensable to me in theater, works brilliantly in painting—filling the canvas with meaning and amplifying the character’s essence with genuine emotion. In "Soul of Harlequin," I portray the life drama of a creative person. The imagery is as concise as a theater stage, yet empowered by the expression of red against a graphic backdrop—lived through emotionally and sincerely. For a creator, art is not just self-realization; it is a way of life. An artist cannot cease to create. It would be the same as ceasing to breathe. Ukraine is in a state of war and resistance. While our men hold the front lines and homes are ablaze, our culture remains unyielding. Despite the lack of light, internet, or heat, we continue to create paintings, plays, concerts. Creativity is our powerful voice—it is the support for both soldiers and civilians. Art is our resistance, our weapon, and a chronicle of war seen through an artist's eyes. In my work, scenography and painting weave into a single, living fabric of a shared artistic image, becoming stronger with every new piece. For me, theater is not just creativity; it is a way to see, to experience, and to process drama through my own perception—to understand the world and its events. It is about merging the perspective of a philosopher with the sincerity of a child, shaping observations and feelings into a unified, symbolic image. As a result, a living and concise artistic image of a play is born—first in a model, and then on the stage.I spent thirty years in the world of theater, working with the classics of world drama. When creating scenography for a literary work, I always try to understand the past and sense the future, to grasp the nature of conflict and model its development. I believe an artist must be able to see the progression of a play not just in the present, but in the future. To be, as much as possible, both a philosopher and a prophet. Every time I begin, I avoid templates—seeking a new, precise solution. The ability to feel drama and think in images eventually merged with my passion for color and form. The most fascinating work has always been the portrait—exploring internal experiences and reflecting on what awaits the subject in the future. I call these "internal portraits." In these portraits, there is not only a physical resemblance but also a life story created through painting—with its own drama of feelings and individual mood, united by a symbolic, often theatrical, image. Gradually, I solidified this union of scenography and painting in works like "Prelude," "Travesty," "Inspiration." These two paths have merged—this is the drama of a human life on canvas: concise as a theater stage, amplified by the expression of color, and lived through without pretense."Soul of Harlequin" explores the emotional depth and symbolism of human destinies through theatrical metaphors, focusing on the iconic figure of Harlequin. Each work is a story of a human life, told through the impasto technique and a unique drama of feelings. I hope you will continue to visit my studio. My address to "my viewer" now carries a deeper meaning—it is a personal message to every heart open to art. May these small conversations inspire you.