Trauma is a strange animal. Sometimes it’s linked to a singular event. Other times it spans over long, blurry periods of time. It can be collective, but it’s always isolating. Trauma lingers. It plays the long game. It tells us we’re not safe, or that something terrible is about to happen. We wait for that thing to happen to us, and even when it doesn’t, we keep waiting. Sometimes if we wait long enough, our fears start to take shape and follow us into our waking reality. Maybe you mistake a man walking down a crowded street with a camera for a soldier with a loaded gun. Maybe every time your phone rings, you wince in anticipation of bad news. Maybe the shadows from the tree outside the window on your bedroom wall become more threatening as each nightly hour passes, and you can’t fall asleep. Your sense of the past and present is breaking, and there’s no longer a here and there, but one big same, unstable place that we’re all falling into.
But shadows can also just be shadows. If it’s so easy for them to transform into the material of our nightmares, then we can turn them into other things too, all kinds of things. For example, I’ll stretch out my arm and make the shape of a rabbit with my two fingers. You do the same, but try to make it look like a barking dog. The lamp light is soft so the shadows are a bit blurry, but it doesn’t matter anymore. We continue like this, making up our story as we go, until we finally fall asleep.
The exhibition Serenade of Shadows is a dual effort conceived by artists Olga Krykun and Masha Kovtun. Within their work, both artists explore themes of nostalgia, longing, and an unending search for identity. More recently, they have begun to explore the physical and psychological ramifications of life during wartime. As Ukrainian artists living abroad, themes of uncertainty, isolation, and hyper-vigi- lance come to the fore. Serenade of Shadows is imbued with the artist’s nuanced introspections, blur- ring the edges of reality and escapist fantasy.
— Christina Gigliotti