Kateryna Reznichenko: MOrphosis

May 3–31, 2025

​​In Morphosis, Kateryna Reznichenko walks a fine line between the clean geometry of rendered faces and a wild, uncontrolled bloom of paint: her figures appear mid-transformation, not yet resolved, not yet named. They hover in the liminal, half-birth, half-erasure, perhaps haunted by what they once were and trembling with what they might become.

In this body of work, there is an ongoing dialogue between discipline and chaos. Reznichenko knows her edges—but she also knows how to let them go. Her brushwork is not reckless, but it listens and waits. She invites the materials into the conversation, and in doing so, she relinquishes authorship just enough to invite mystery in.

Is it a diaphanous burst of ultramarine that becomes the painting’s gravitational center; or is the face itself? The tension between this duality is ongoing, intention and accident locked in a quiet, intimate duel. These are works that don’t ask to be solved; they ask to be sat with, like grief, or love, or the unnamable things that move through us when we change.

The titles—Jellyfish, Totem, Fallen, Medusa—point us toward myth and nature. Reznichenko leans into archetypes without falling into cliché. Her Medusa does not hiss; she contemplates. Her Bird does not fly; it watches. And in Athena, named for the goddess of wisdom and war, we see a softness, not armor. Even divinity, it seems, is porous. These figures are not symbols to be read, but living things to be encountered. They are masks, but masks in the process of dissolving.

What Reznichenko achieves in this body of work is not only aesthetic tension, it is existential. These paintings examine the shapeshifting nature of the self, and are an invitation to observe long enough to feel that shift within ourselves. Morphosis is not only what we see occurring with the subjects—it is also what happens to us, the viewer, in the act of witnessing. We are confronted with the question of what we must allow to dissolve so that something new, something truer, might emerge.