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Dasha PogodinaWho we really are?2025
2025
$2,096.45
£1,588.11
€1,800
CA$2,904.34
A$3,257.41
CHF 1,705.86
MX$39,580.75
NOK 21,661.52
SEK 20,536.65
DKK 13,704.78
About the Item
ABOUT THE ARTWORK
"Who We Really Are?" from the "Perichoresis" series raises questions of identity, duality, and the masks we wear—whether to hide or, paradoxically, to see ourselves more clearly. It is a reflection on how difficult it is to maintain authenticity in a world where the external gaze often shapes the inner perception of self.
At the core of the painting lies the tension between the true self and the persona one must adopt to be recognized, accepted, or understood. The work explores the boundary between the personal and the social, between the intimate and the publicly visible.
The painting does not offer a clear answer to who we truly are. Instead, it opens space for doubt and discovery, where honesty does not exclude performance, and the mask is not always a lie. It is about the courage to ask uncomfortable questions, to search for oneself amid countless roles and projections, and the desire to preserve authenticity—even when it feels frighteningly vulnerable.
PERICHORESIS SERIES
“Perichoresis” (ancient Greek περιχώρησις - “interpenetration”), a theological term meaning the mutual penetration of divine parts into each other, to describe a unique union that does not imply mixing or merging, but emphasizes an indivisible unity.
Daria explores the theme of new sexuality, deliberately choosing a term from theological treatises for her series of works.
With this gesture, she protests against the dictates of religion, the church’s manipulation and pessimization of human sexual manifestations and physicality, the false meanings and concepts with which religions have burdened, and instead of building true connections and bridges for man and God, they build walls.
“Perichoresis” for her is a beautiful and complex term that describes the fusion of the divine and the material. Having grown up in the Protestant tradition within an Orthodox society, Daria notes the common separation of sexuality from divinity in all these religions, while she sees sexuality as the clearest manifestation of divinity, beauty, and sublimity.
The artist notes that Christian culture has invested the image of the female body with a narrative of pornographic tension, while at the same time presenting paradise before the Fall as a sexual paradise, the Garden of earthly pleasures. For the artist, sexual paradise is a safe environment, complete trust, acceptance, the opportunity to open up and discover the Other, the opportunity to learn to be loved and to love.
Love is an environment where merging does not dissolve in another person, but on the contrary, strengthens the individuality of each and enriches each other.
Thus, the artist reminds that the division into the sublime and the low in love is artificial, and overcoming this division can make life more beautiful. The heroes of her paintings are immersed in the enigmatic space of love, and sometimes there are ironic scenes that balance the degree of sublimity.
- 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: LU2203216349222
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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