Russian- born artist Natasha Dikaya has been working as a professional artist for 7 years since she graduated from UWE. Painting has always been her passion, but she has also experimented with video installation, winning the Michael Barnard Award for one of her pieces.
She first exhibited her 1st series of paintings in May 2011. Since then she has exhibited widely in Bristol, including the prestigious Royal West of England Autumn Show in 2011.
Originating from Russia, Natasha's first series of paintings was influenced by Russian constructivism of the early 20th century, also Piet Mondrian, Peter Halley and Sarah Morris as well as some graffiti artists such as Graphic Surgery and Matt W Moore. She is inspired by the tension in these artists work and their experimental nature.
For her early series she used spray paint on steel panels with lacquer, producing fairly large piece about a meter tall. The subject of the work has associations with living in the urban environment and the increasing linear patterns within this experience. She sees urban life as being controlled by a multi-layered network of lines: electricity and telephone lines, wireless networks, internet and satellite signals. This invisible linear world controls and frames the way we behave and look at the world. Natasha chooses the medium of spray paint because it has an industrial quality. The work is then taken to be spray lacquered by a car garage. This working method gives the work a linear process, almost like "production line", which Natasha feels gives it a sense of the growing alienation and disconnection that many people living in a city experience.
“Deeply on the surface”
Today the new spiritualism is the digital age, our global tool of communication. If I could only just put on a pair of eyeglasses that could capture information in space and all the data that is perpetually streaming around us…
Karim Rashid “Digipop”
My work is concerned with the urban environment that we live in, with its increasing complexity and impact on our social and individual life. All my life I have lived in big cities in western and eastern Europe, and this experience of living in very different forms of urbanity has become the starting point for the ideas in my most recent paintings.
City life with its glamour and magnetic pull, its multilayered networks and constant circulation, excites and energises us. Millions of colour-coded lines operate this urban system, configuring its organisational and social landscape. Above ground there are wires carrying electricity and telephone lines, and wireless networks carrying mobile phone, internet and satellite signals. Below ground there are pipes carrying more cables, and water, sewerage and gas.
This independent, invisible linear system also controls and frames the way we behave and look at the world, according to its own linear code. The more I think about it, the more I meditate on growing alienation and shallowness, and on human beings transformed and disconnected. We either accept or feel trapped in a networked semi-public, semi-private space where we are showered with, or overloaded by, information and ever more implicitly directed and manipulated by that linear system.
- Spike Island, Bristol
- Centrespace Gallery, Bristol, BAS 08
- Deeply on the surface, Junction, Bristol
- Work-in-progress,Tobacco Factory, Bristol
- Urban realist, Engineers’ House, Bristol, group exhibition
- RWA Autumn Exhibition 2011
- Storytelling show, Bristol Contemporary Art, Bristol, 2012
- Supernature show, Bristol Contemporary Art, Bristol, 2014
- Affordable Art Fair Bristol, 2014
- Affordable Art Fair Brussels, 2014
- Affordable Art Fair Bristol, 2015
- Battersea Affordable Art Fair London, 201
- Art in Mind group exhibition, Brick Lane Gallery London, 2017
Facebook: Natasha Evans
Instagram: Natasha Evans @natalya_n_evans