Composition

The Architecture of Abstraction

In this 1958 work, Hryhorii Havrylenko moves away from the literal to explore the structural essence of form. The piece presents a flattened perspective where space is not a void to be filled, but a series of intersecting planes. A central, angular shape dominates the middle ground, suggesting the silhouette of a building with a sharply pitched roof. This architectural ghost is surrounded by a rhythmic arrangement of triangles, rectangles, and irregular polygons. The composition is held together by thick, assertive black lines that delineate boundaries and prevent the eye from seeking a traditional sense of depth. It is a study in tension, where the weight of the shapes is balanced by the deliberate use of negative space.

The visual language here is one of controlled energy. Rather than using light and shadow to create volume, the artist relies on the juxtaposition of color and geometry to suggest presence. The palette is striking in its economy, utilizing primary tones—red, blue, and yellow—alongside green and cream. These colors do not blend; they meet at sharp edges, creating a sense of movement within a static frame. The surface appears smooth, with the application of paint favoring flat planes over expressive brushwork, which emphasizes the graphic quality of the arrangement.

Formal Elements and Materiality

The impact of this work lies in the specific, deliberate choices made in its construction. Havrylenko uses a restrained selection of media to achieve its visual weight:

• Gouache and pencil on paper, creating matte color fields and precise marks.
• Thick, dark lines that delineate shapes and flatten the pictorial space.
• A geometric vocabulary of rectangles, triangles, trapezoids, and irregular polygons.
• A pattern of dots in the upper left quadrant that contrasts with solid blocks of color.

The interplay between these elements creates a distinct push and pull effect. The horizontal band of vertical lines at the bottom provides a sense of stability, while the fragmented, overlapping shapes above defy conventional spatial logic. One observes the tension created by the relationship between these bold lines and the color planes they enclose. The composition feels compressed, favoring a two-dimensional arrangement over traditional depth.

A Modernist Dialogue

Created during a period of significant artistic experimentation in Ukraine, this work reflects the spirit of the avant-garde. Havrylenko’s approach in 1958 shows a departure from academic realism toward a more cerebral, semiotic exploration of art. The shapes act as signs, stripped of their descriptive duties to focus on their formal properties. There is a certain tension in the way the colors interact, a deliberate attempt to deconstruct reality into its most basic, geometric components. This piece remains a quiet, powerful example of how abstraction can communicate complexity through simplicity.