Catalogue of Architectural Details No. 4

The work is a monochrome black and white print (9.9 x 9.3 cm) with white embossing along the right edge. A strip (2.7 x 8.6 cm) of the same paper has been previously glued to the centre right of the sheet. On the left is a part of a naked woman, half turned to the right. She is shown from the middle of the thigh to the collarbone level; her arms are missing. This body part is placed on a stone cube with triangular bas-reliefs on the sides. Beneath the cube is a rectangular slab with rectangular protrusions in the centre of its faces. The same slab, horizontal and parallel to the lower one, is placed on top of the body. These two plates are connected by thin vertical rods in the places of the protrusions on the edges of the plates. On top of the upper slab, in place of the woman's missing head, there is a stone ball on a low base in the shape of a cut-off cone. This architectural structure is chipped in several places. On the left, the background of the composition is grey, speckled in different intensities; on the right, it is light grey. At the bottom, near the embossed white spots, there is a small black cross-shaped mark. On the right, at the level of the abdomen, there is a larger black cross.

"Igor Podolchak is a young Ukranian artist who has come into maturity as most of the political emblems of Soviet communism have been dismantled. To 'western' eyes adjusting in the light of Glasnost these grimly comic tableaux of Podolchak's appear to be macabre residues of an unconscious history. The artist recovers these repressed memories in a pictorial language that combines Surrealist effrontery with a neo-Gothic repertoire of demons, fools and hellish tormentors. In what could be private and dark corners of – equally – some torture chamber in a remote castle, some diabolical clinic operated by a vivisector, or some maniacally disciplinarian school room, these creatures perform obscure but intensely cruel rituals upon each other and upon themselves.

They are inextricably bound to a fantastic machinery that could be derived from Dr Frankenstein's laboratory, the Marquis de Sade's chateau or Franz Kafka's penal colony. Their limbs and organs fall away to reveal grotesquely implausible prosthetic devices that accentuate their mutilations. Their flesh is torn away in strips like bondage straps, or it drips off them, coagulates like glue on the walls and floors, or is petrified as stone or as an abominable excretion.

Alluding to the monstrosities of Hieronymus Bosch, Otto Dix, Max Ernst and Salvador Dali, Podolchak invokes a violently sensual and perverse force of metamorphosis. A kind of hysteria grips the imagery in this sarcastic fantasy: an ambiguous condition since it requires both intensity and also distraction. Because of this ambiguity we might confuse hysteria with ecstasy: psychoanalysts suggest that where hysteria is an illness, ecstasy is considered a state of grace. For an artist sensitive to this underlying similarity, hysteria can be regarded as the obscene side of ecstasy. These creatures are obscene not only because they strain or lurch comically and horrifically in spastic poses; in the perpetual torment of their inescapable hermetic society, they also cripple our own sense of moral distinction and judgement – conflating the worlds of the living and the dead, victim and master, the saved and the damned.

Their flesh convulses in the rigid grip of desire locked onto repression: whose erotic machines (manufactured from mysterious quasi-religious and political signs) weigh down, enclose, constrain, contort the lust of their supplicants.

In their Gothic guise these sorts of grotesqueries represented human depravities given their apocalyptic form, that is to say their true form behind appearance, the revelation of otherwise hidden human sin as it will appear on the Judgement Day. Are Podolchak's visions in this fantastic space of repression likewise apocalyptic, though perhaps signalling a political dread of Orwellian nightmares becoming ecstatic?" (Edward Colless, "Essay". To the exhibition catalogue "Igor Podolchak. Ukrainian Printmaker", 1991).

https://eprints.utas.edu.au/18624/1/Igor_Podolchak_Ukrainian_printmaker_1991.pdf

Below the print is a pencil inscription: "'Catalogue of architectural details No. 4' / 43/99 / Podolchak 1989".

Borys Voznytskyi Lviv National Art Gallery