Untitled, 2025
Yana Dmitrieva  

Fine Art Drawings : Watercolour · 40 x 28 x 0.1 cm 15.7 x 11 x 0 inch

$350 350 $US
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Shipped from: Montenegro

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Verified Reviews : 9.6/10
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About the artwork

Type

Fine Art Drawings : Unique artwork

Condition

Artwork sold in perfect condition, not framed

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

40 x 28 x 0.1 cm 15.7 x 11 x 0 inch Height x Width x Depth

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Description

In this work, Yana Dmitrieva reflects on a woman's desire to be alone with her thoughts. It is not about nudity, but about choosing oneself — a quiet act of freedom beyond external pressure or expectation. The figure exists in a space of stillness and contemplation, where solitude becomes a form of strength.

This is not a statement about sexuality, but about the right to exist without being someone's object. The gentle, fluid movement of watercolor emphasizes the softness of this moment — an intimate pause where the woman listens only to herself. It is a work about silence, choice, and inner autonomy.

Nude

figurative

Human body

Women

Semi-abstract

colorful

Yellow

Pink

Yana Dmitrieva, Untitled
Montenegro  • 1981

Presentation

Yana Dmitrieva is a contemporary artist whose practice moves between figuration, abstraction, and surrealism to examine uncertainty, adaptation, and the preservation of self. Her paintings focus on moments when familiar structures begin to dissolve and identity becomes something fluid rather than fixed.

Figures in Dmitrieva's work are frequently faceless. By withholding individual expression, she shifts attention toward the body itself — its posture, tension, balance, hesitation, and instinctive response to circumstances beyond its control. Human forms stretch, merge with fish and other organisms, or inhabit spaces that seem simultaneously above and below water.

Migration forms an important conceptual undercurrent in her practice, but the work deliberately avoids literal autobiography. Displacement becomes a broader psychological condition that can arise through relocation, loss, motherhood, separation, reinvention, or any experience in which a familiar version of the self no longer feels sufficient.

Her distinctive palette of aquatic blues, luminous greens, violets, and unexpected chromatic transitions intensifies this sense of instability. Landscape becomes less a physical location than an extension of consciousness.

Dmitrieva's ongoing Displaced Bodies series considers the body as an archive of uncertainty. Rather than illustrating what has happened to a person, the paintings preserve the physical state of being caught between what was and what comes next — a vulnerable, unresolved territory in which transformation has begun but identity has not yet settled.

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