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Dasha PogodinaSummer calendar/12025
2025
$2,134.41
£1,586.04
€1,800
CA$2,954.16
A$3,289.69
CHF 1,717.62
MX$39,860.67
NOK 21,661.02
SEK 20,438.88
DKK 13,705.52
About the Item
ABOUT THE ARTWORK
“Summer calendar/1” is not just a painting, but a ritual of capturing summer through color. It is the first page of an inner calendar, where each flower is not a botanical specimen, but a day consciously lived, a day worth preserving.
This work speaks of time recorded through beauty. In a reality that can be anxious and unstable, the artist creates an internal rhythm — a personal calendar of resilience. It contains no dates or numbers, but instead offers a presence of color, gently reminding: “this day happened,” “here it is — like breath,” “I lived it.”
“Summer calendar/1” is an affirmation of the choice to live fully, despite uncertainty. The painting becomes an anchor that brings one back to the bodily feeling of summer — not as a season, but as a state of being. There is no pursuit of objective reality here — instead, it is an inventory of the subjective, the deeply personal, the sensory.
Flower Madeleine
(Madeleine Series)
The “Flower Madeleine” series is a meditative reflection on memory, time, and life that continues despite everything. It is not just a visual archive but an emotionally charged exploration of how we remember, what we choose to preserve, and which images become inner anchors.
Inspired by the Proustian effect—where the taste of a madeleine cookie unlocks forgotten memories—each work in this series becomes a gateway into the “invisible rooms of the past.” Yet the artist does not strive for precise reconstruction: the memories in these paintings merge with fiction, evoking a sense of déjà vu or dreamlike states. This is an autobiographical diary, where objects from everyday life and the garden attain an almost sacred status.
A central role in the series belongs to seasonal flowers and fruits. They function as markers of time, as a way to capture the present without turning to overt political symbolism. Amid war, anxiety, and destruction, the artist makes a deliberate choice to look toward life, documenting her inner landscape through earthly, living forms.
The flowers are hyperbolized—larger, more vivid, more saturated than in reality. They become canonical images, nearly icons of resilience. Fruits—symbols of ripeness, abundance, and fragility—also speak to the inevitable cycles and enduring vitality of life.
Thus, the “Flower Madeleine” series becomes a unique dialogue between past and present, between reality and memory, between personal vulnerability and the steady choice to stay alive. It is art as resistance against oblivion, an attempt to preserve the self and one’s world—not through fear, but through beauty.
- Creator:Dasha Pogodina (1992, Ukrainian)
- Creation Year:2025
- Dimensions:Height: 59.06 in (150 cm)Width: 51.19 in (130 cm)Depth: 0.99 in (2.5 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Zofingen, CH
- Reference Number:1stDibs: LU2203216840142
Dasha Pogodina Ukrainian artist, based in Switzerland. Paintings are in private collections in the USA, South Korea, Italy, Great Britain, Germany, and Switzerland. Exhibitions
2022 Solo Exhibition Stärke und Verletzlichkeit / Escape Vide - Thun, Switzerland
2022 Group exhibitions In Ukraine / ZRC - Ljubljana, Slovenia
2018 Group exhibitions Room of my Minds, Ukraine
2017 Group exhibitions Garden as an Art, Kyiv, Ukraine
2014 Group exhibitions Gift of Volhvs Severodonetsk, Ukraine
2013 Group exhibitions Fragment of Life, Luhansk, Ukraine
2012 Collaborate Project Light of Hearts, Luhansk Ukraine Dasha Pogodina about her art New sexuality and personal integrity - are the basic areas of search in my artistic practice.
In my practice, I problematize the ideal of the metamodern world with its total moderation and the desire to return to high ideals and values. As an artist, I concentrate on the nature of the corporeal, I perceive the body as a membrane reflecting me into this world and communicating the world to me. In search of answers, I enter into dialogue with the body-sensory lexicon of Kiki Smith and Paula Modersohn Becker and also find support in the sublime physicality of the early Gothic of the 13th century from Giotto, unencumbered by the tension of formal anatomy. My works are filled with color, and ethnic decoration and are illustrative at the same time. This turns my paintings into light, at first glance, stories, which, however, do not call the viewer to cold contemplation, but, on the contrary, open up the opportunity to safely return to their secret “I”.
I use the space of naive archetypal images, creating a safe haven from aggressive modernity, with the opportunity to dive into the psychological depths of my own worldview. I build into my paintings the mechanics of oscillation of naivety and mockery, trust and cynicism, chastity and debauchery, strength and kindness, as a manifesto of courage to be vulnerable and herbivorous in a world where food chains still exist.
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