Ludmilla Radchenko was born in Omsk, Siberia on 11 november 1978, where in 1999 awards a degree in Fashion Design. In 2009 she chooses to pursue her greatest passion: painting. Instinctive and vital, her loud voice art, dressed with real life drives her toward PopRealism. Since december 2010 her first catalogue “Power Pop” edited by Skira can be found in Feltrinelli libraries with a critic essay by Fortunato D’Amico. Ludmilla creates a painting for a champion of moto GP Jorge Lorenzo, for F1 world’s champion Sebastian Vettel, for the rock star Jamiroquai. Far from presenting the object again and again in an hyperbolic and obsessive way as seen in the “classic” pop tradition, Radchenko loads it with social content in open accusation to its exploitation. In deference to the pop spirit, Radchenko, doesn’t limit her interest to canvas but spreads her touch to fashion and design too. The “Siberian soup” FullART by Ludmilla Radchenko was registered as a new brand. During the last years her artworks were used in several fields bringing to life interesting projects and capsule collections (i.e. shoes, bags, sweaters a lot more).
A project that combines art, design, photography, environment and the desire for redemption; that creates a juxtaposition between denunciation and drawings sometimes of child like simplicity, to draw attention to social and cultural contemporary issues. Themselves only the tangible symptoms of wider malaise and man’s internal conflict.
I AM MY PAST, MY PRESENT, MY FUTURE
To be or to have, to run or to meditate, to build or to dream with open eyes, to create or to wait for the course of events. Often life sets in front of us choices that determine our future and condition the rest of our life. There are those who wait eternally for signals that never arrive, others who, once having decided to become the designers of their own destiny, help out destiny by trying to reach their objectives.
Ludmilla Radchenko belongs to the category of people who are born in order to be among people, to take action in life and leave a sign for oneself and others.
Artistic expression, in these cases, becomes a genuine instrument of communication and interaction with the world, an expressive code for manifesting thoughts and states of being in non-conventional ways. Using chromatic-sign contaminations, Ludmilla proposes compositions that tend to re-evaluate the object or the fetish, or to transform a face into a shape that goes beyond any limits, that breaks down barriers and goes beyond physical and mental confines. The daily object is held hostage and regarded in such a way as to be a pure ornament of her work.
Her portraits, on the other hand, become maps to study and investigate through agile and unpredictable ruptures of overly-conventional codes. They bring forth faces that mystify to the infinite frameworks connected to the reproduction in series of the emotions. In a society where everything is pre-established, where transgression corresponds to what five years ago would have been defined as static and ordinary, Ludmilla pushes the false interior expressions and the predictable instinctiveness, exalting the external world through the objects and archetypes of the daily world. One becomes a painter, one is born pop-artist.
I AM MY PAST,