The contemporary art world is supposed to be a safe haven for critical thinking and open mindedness. The reality is often more complicated, with trends, unspoken expectations and hypocrisies dictating more things than we might be willing to admit to. Poking into the soft underbelly of the art world is the artistic practice of Ukranian born Karina Puuffin (b. 1997), who, with her light and humorous approach, dares to ask the hard questions. We spoke with her about her work.
“In the uneasy and restless region of Svatove, Ukraine, I experienced a turbulent upbringing on the border with Russia. Seeking a change from the discomfort and conflict, my family decided to relocate to the Netherlands in 2014, long before the current ongoing conflict. This transition exposed me to a stark contrast in artistic perspectives between Ukraine and my newfound home. Ukrainian art was deeply rooted in tradition and academia, while the Dutch art scene embraced a more conceptual and political approach.
My creative inclinations were evident from a young age, often prompted by school requests for paintings
Upon my arrival, I was taken aback by the difference in artistic expression. Although I hadn't formally studied art, my creative inclinations were evident from a young age, often prompted by school requests for paintings. The Dutch art scene challenged my traditional approach, pushing me to explore concepts over aesthetics. My journey led me to Minerva in 2016, a liberating contrast to the structured Ukrainian academies. Graduating in 2020 with a degree in Fine Arts marked a significant shift for me.
My early focus on traditional paintings gradually evolved during my studies. Intrigued by the expansive definitions of art, I began deconstructing paintings, experimenting with canvases, frames, and spatial constructions. This exploration aimed to challenge preconceived notions of what constitutes art, bridging the gap between high and low art.
Reflecting on the evolving landscape of Ukrainian art, I observed positive changes post-2014 — a shift towards political and conceptual themes, accompanied by an increase in gallery spaces. This contrasted with my Dutch experience, where I noticed internal, unspoken rules within the art scene, challenging the perceived openness.
My current artistic focus lies in questioning the definitions of painting. By incorporating various materials like fabrics, wood, cotton canvases, acrylics, and charcoal, I construct unique works within a given space. I prepare certain pieces at home, which I see as preparing the ingredients before I start working at the other location, which would be akin to doing the actual cooking. This spatial exploration extends beyond traditional boundaries, blurring lines between personal life and art. The humor infused into my creations acts as a disarmament, inviting viewers to question their expectations and embrace a broader perspective on art. In one case I brought in cheap paintings from second hand shops, which are generally not valued very highly, yet I believe all art should be appreciated in the same way. Whether through traditional paintings or installations, my goal is to make art accessible, challenging the hierarchical norms of the art world.
The humor infused into my creations acts as a disarmament
Looking ahead, I aspire to showcase my art beyond the Netherlands, transcending the constraints of location-based art. As I navigate the Dutch art scene, I remain rooted in my Ukrainian heritage, recognizing the significance of both in shaping my artistic journey. The juxtaposition of traditions and contemporary influences continues to fuel my exploration, pushing the boundaries of what art can be.”
Text: Dinnis van Dijken
Photos: Lisa Jasperina Bommerson