The Innervation of Space


This book is not an album in the usual sense, and thus it would be useless to look in it for the traditional retrospective of the artist's legacy.  This book, dedicated to the work of Petro Bevza, is an attempt to define the quintessence of his 25-year long artistic searches.

In the worldview proposed by Petro Bevza, the artist is seen as an explorer of the constellations of space and matter. The canvas and paints of the artist convey a right gradation of different dimensions of Existence: from the microcosm to the macrocosm, from the sacred to the profane.  By denouncing art as an illusory understanding of the world, the master discovers its reality as a way of learning. Thus the structure of this monograph first and foremost shows the essential morphology of the artist's creative world, to which the chronological order of the cycles and their seminal technical characteristics.

Petro Bevza's wide spectrum of creative thinking is always fresh and precise. He is capable of this kind of thinking because of the flexibility of his creative nature and honesty with himself. As if checking himself, the artist consecutively changes the directions of cognition for human existence and the surrounding world. The four chapters of the monograph (“Landscapes,” “Reality of the Woman,” “Sophic Symbols of Being,” “Spaces of Gravity”) are representations of the four main aspects of the artist's creative nature: lyrical, analytical, tactile, and synthetic (“extrasensory”).

The journey through the creative world of Petro Bevza naturally starts with the “Landscapes” chapter. For the artist, the landscape is a certain system of coordinates, a measure of any following creative experience. The formation of a landscape, even a speculative one, for an artist is to be partial to the creation of the world. A sophisticated intuition for tectonics becomes the internal energetic carcass of the cycles “Way,” “Tracks,” “Theodosics,” “Elegies,” and gives them a refined flexibility and richness of texture. Without the sensitive white strings of the tactile nerve these works would have been ordinary landscape stylizations, and would have repelled by their arrogance without their coloristic and emotional background, which is reasonably ancillary to the current of figurability.

A current colored with lyricism dominates in the “Reality of the Woman” chapter, which unites such cycles as the “Palimpsests of Existence,” the “Reality of the Woman,” and the Parisian cycle. Here the different variations of female figure contours open themselves like an antique vase, like the smelting crucible of emotional and coloristic compounds. The artist wants to see the pure substance of femininity. The woman's nature is seen as the reality and subjectivity of life itself.

The chapter “Sophic Symbols of Being” makes visible and clear cut the inhomogeneity of space, which has been expounded upon at the verbal level by philosophers, physicists, and culturologists.  In this context, a powerful analytical core equalizes the lyrical outbreaks without which the creative process is impossible, and creates harmony in the semantic sphere, most completely seen in the cycles “Gates of Heaven,” “Wind of Hell,” “Signs,” “White Shadow,” “Communicational Corridor.” These works develop the idea that the wisdom is immanently present in life, even in its everyday hypostasis.

Intuition helps to light the twilight of the Unknown. Its main instrument – the “extrasensory” nerve scans all of the irregularities of space, and descry the invisible strings of gravity that are taught through it. This is in the “Iris,” “Foot of Fate,” “Pepelatz,” and “Islands” cycles, which are written up in the “Spaces of Gravity” chapters.

This rubrication is relative in a way, but by marking certain cases of creative energies, one can fully appreciate the polyphony of images, moods, and ideas of the artists that are truly tightly interwoven, and unfold themselves around several currents of sense that go through his every work and are most important to the artistL “Way,” “Meeting with the Other,” “The Ley Lines of Space.”

The importance of the artists who again and again avoid the Procrustean bed of “issues of the day” lies in the fact that, while they work in widening the human existence, they bring something valuable to the social context – something without which it would be endangered by an entropy of thoughts, a heat death of indifference. Petro Bevza fills our space-time, stuffy with absurdity, with a ocean breeze-like cutting breath of the Otherbeing and the nerve of understanding it.


Mykola Skyba