Award-winning contemporary artist Iva Troj creates fine art pieces which seamlessly merge Renaissance aesthetics and techniques with postmodern praxis. Her intensely detailed images achieve astonishing tricks of light and shade, as practiced by the great masters while incorporating dreamlike scenes which challenge cultural norms.
Breaking things in the right places…
Travelers – Original Painting
Pastel, charcoal, oil on canvas
Mankind II – Large Format Drawing
Charcoal, pencil on fine art paper
Sorry To See You Go – Painting
Oil on Canvas
‘VANGUARD’ in Melbourne, Australia, Aug 2020
DARK ART EMPORIUM, LA, CA, USA, Sept 2019
MODERN EDEN GALLERY
San Francisco, CA, USA
Representational Modern: Beautiful Bizarre Magazine Art Prize Exhibition, Jan 2019
DARK ART EMPORIUM
Dakuato + 12 Inches of Wood / Long Beach, California, USA, Feb 2019
FLUX Exhibition at The National Army Museum, March 2019
TOKYO International Art Fair
TIAF 18 | TOKYO, Japan, May 2018
THE ARTBOX New York 1.0
Armory Artweeks in New York, USA. March 2018
FLUX Exhibition at The Chelsea College of Art, London, April 2018
Modern Masters Exhibit at Art Republic Brighton, UK, July 2018
COREY HELFORD GALLERY, LA, USA.
THE NEW ROMANTICS July 2018
COREY HELFORD GALLERY, LA, USA. May-June 2017.
IVA TROJ 4 FRIENDSHIP –
Friendship Vegan Apparel / Permanent Exhibit in Shoreditch, London, UK
THE CHIMERA GALLERY, Mullingar, Ireland, 2018-2019
COREY HELFORD GALLERY, CA, LA, USA
Beneath The Waves Group Exhibit, Jan-Feb 2017
RANDOM ART GALLERY
Contemporary Beast Exhibit, Brighton, UK, 2016
FED THE LIONS – DYNAMITE GALLERY
Solo Show at DYNAMITE GALLERY, Brighton, UK, April 2016.
IVY ARTS // Group Expo – March 2016
MAYFAIR with Roberta Moore Contemporary in London, UK, May 2015
Exhibition with John Paul Bichard at ROYAL CASTLE, Stockholm, Sweden, Sept-Dec 2015
CAMERON CONTEMPORARY Brighton, UK, October 2014
IMITATE MODERN London with Roberta Moore Contemporary, September 2014
LLOYDS CLUB GALLERY London, Dec 2014
Award-winning contemporary artist Iva Troj creates fine art pieces which seamlessly merge Renaissance aesthetics and techniques with postmodern praxis. Her intensely detailed images achieve astonishing tricks of light and shade, as practiced by the great masters while incorporating dreamlike scenes which challenge cultural norms. Exhausted by a society in which women often feel vulnerable, threatened, or powerless, Troj recasts the fairer sex as powerful creatures, freed from the oppressive male gaze and placed within Edenic settings where they can revel in their own beauty and potential. Blending abstraction with figuration, the natural world with the urban landscape, dream with reality, Troj’s breathtakingly beautiful artworks achieve something truly unique, both in terms of aesthetics and concept.
“In many ways, I am what you get when you throw ancient Sakar Mountain wisdom failing to adapt to totalitarian ideas right into the pits of post-industrial capitalism. My grandmother’s village used to be in the no man’s land surrounding the Turkish and Greek/Bulgarian border during the communist regime. It used to be totally isolated from the industrial world and there was no school or a library (or pollution). And somehow my grandma knew what Wabi-sabi was. I asked her about it and she told me a story about a lion tamer. Beauty is ”imperfect, impermanent, and incomplete,” she said. I am not sure how I came to find the clues to Japanese culture. She never talked about China or Japan, “intimacy”, or appreciation of the ”ingenuous integrity of natural objects”. That was not how she spoke. Instead of using fancy words she showed me things and explained their beauty to me. Her house and her garden were full of evidence of beautiful imperfection.”
In 2016, Troj was named Contemporary Art Excellence Artist of the Year and, in 2013, was the winner of the Towry Best of East England Award. She has exhibited both nationally and internationally and her work is in collections in the UK, France, Ireland, Sweden, Norway, Germany, China, United States and Japan.
As a child, I was taught to question one-dimensional narratives, which grew from a survival technique to a development technology of the artistic self. The foe I so often portray almost always represents the normalization of one or more dysfunctional discourses, such as the victimization of the female gender, religious dogma and racial inequality.
Like many artists, I discuss personal experiences. At the same time, I strive to escape the self, an urge that partially stems from crossing borders in the last years of the cold war. Living through cultural starvation in my childhood has made me restless and hungry for honest creativity with an almost childlike curiosity. In that sense, nothing I discuss is strictly personal. Sexual abuse, violence, trauma… I may present an unusual perspective on these topics stemming from the self, but only as an outset. The work needs to keep changing, relive itself, challenge its own conformity.
There is a point in every artist’s career when one is tempted to choose a tested and proven path. I’m constantly trying to resist this temptation by containing the “paths” in series where I can explore a motif or a theme without succumbing to the comforts of one visual style. The artists that I look up to for inspiration have one thing in common – constant renewal.
Traditional elements are very central to my body of work. It’s not so much a need to keep the style ”traditional”, but rather the way I speak. I grew up in a communist country. We sang songs about machines being superior to man and praised modernity while destroying nature and killing creativity and the human spirit with it. At the same time, my summers were spent in the mountains with my grandmother who had hanging gardens, thousand stories and no TV. These two realities are inseparable in my mind.
The painting technique I mostly use resembles the Flemish method of layering thin veneers of paint between layers of varnish. I start with pencils, pastels and varnish. After that I paint a lighter layer with acrylics and finish with a couple of thicker layers using a combination of mediums, often acrylics and oils, but sometimes gold leaf and inks.
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