Drypoint
Media Dimensions: 70 x 50 cm
Image Dimensions: 59 x 42 cm
Unique Work
Split your payment over 10 months with OwnArt 0% APR. Your monthly payment for this artwork would be £72.00.
Natalja Vikulina’s work explores the philosophical dimensions of absence, presence, and transformation through reinterpretations of Baroque aesthetics in the digital age. Influenced by Gilles Deleuze’s concept of the fold, Vikulina investigates the Baroque not merely as a historical style but as a conceptual lens through which matter, spirit, and perception can be endlessly folded and refolded. Her practice uses printmaking, drawing, and layered screenprinting techniques to examine how forms like drapery — once used to frame divine or heroic bodies — can be recontextualized and reanimated as autonomous sites of meaning. In her drypoints, the fabric is disembodied from the figure, creating a space where memory, loss, and transformation intermingle within the folds. Vikulina’s ongoing print series, including works such as Noli me tangere and The Veil of the Sky Torn Open, draws on biblical metaphors and Baroque iconography to question the boundaries between material and immaterial, seen and unseen. In Teresa and Ludovica, she isolates the iconic drapery from Bernini’s famous sculptures allowing the cascade of folds to speak on their own terms — as metaphors for motion, temporality, and metaphysical tension. Her screenprints, meanwhile, incorporate polygon meshes, ornamental drawings and floating forms to create dreamlike compositions. Vikulina graduated from the Royal College of Art in 2017 with an MPhil in Visual Communication. She has exhibited actively since, with a solo exhibition at Willesden Gallery (London, 2022) and group shows including Centrala Gallery (Birmingham), Philosophicum (Basel), and London Design Festival. She has completed artist residencies at the National Centre for Contemporary Art (Nizhny Novgorod, 2016 and 2017) and at Anglia Ruskin University (2024-2025). Her work is held in both private and public collections, including the Netherlands Institute for Sound and Vision.
Drypoint
Media Dimensions: 70 x 50 cm
Image Dimensions: 59 x 42 cm
Unique Work
Split your payment over 10 months with OwnArt 0% APR. Your monthly payment for this artwork would be £72.00.
Natalja Vikulina’s work explores the philosophical dimensions of absence, presence, and transformation through reinterpretations of Baroque aesthetics in the digital age. Influenced by Gilles Deleuze’s concept of the fold, Vikulina investigates the Baroque not merely as a historical style but as a conceptual lens through which matter, spirit, and perception can be endlessly folded and refolded. Her practice uses printmaking, drawing, and layered screenprinting techniques to examine how forms like drapery — once used to frame divine or heroic bodies — can be recontextualized and reanimated as autonomous sites of meaning. In her drypoints, the fabric is disembodied from the figure, creating a space where memory, loss, and transformation intermingle within the folds. Vikulina’s ongoing print series, including works such as Noli me tangere and The Veil of the Sky Torn Open, draws on biblical metaphors and Baroque iconography to question the boundaries between material and immaterial, seen and unseen. In Teresa and Ludovica, she isolates the iconic drapery from Bernini’s famous sculptures allowing the cascade of folds to speak on their own terms — as metaphors for motion, temporality, and metaphysical tension. Her screenprints, meanwhile, incorporate polygon meshes, ornamental drawings and floating forms to create dreamlike compositions. Vikulina graduated from the Royal College of Art in 2017 with an MPhil in Visual Communication. She has exhibited actively since, with a solo exhibition at Willesden Gallery (London, 2022) and group shows including Centrala Gallery (Birmingham), Philosophicum (Basel), and London Design Festival. She has completed artist residencies at the National Centre for Contemporary Art (Nizhny Novgorod, 2016 and 2017) and at Anglia Ruskin University (2024-2025). Her work is held in both private and public collections, including the Netherlands Institute for Sound and Vision.
