AN ESSAY ON THE RECENT WORK OF LADA 

by Linda Abrahams and Penelope Stewart 

"Mythical imagery of the prehistoric era tells us much about humanity, its concepts of the structure of the cosmos, of the beginning of the world...lt cannot be forgotten that through myth, images and symbols, man [woman] comprehended and manifested his [her] being" 

-- Marija Gimbutas 

Recent archaeological examination of pre-Minoan culture establishes a new concept of the beginning of European civilization. No longer is it suggested that a single small legendary island, claimed by the sea some 9000 years ago, gave rise to the civilization of Crete and the Cyclades, but rather a considerable part of Europe surrounded by the Eastern Mediterranean, Aegean and Adriatic Seas. This pre-Indo-European culture referred to as "Old Europe", was matrifocal and worshipped the Goddess as "Source" and "Giver of All." 

Lada, an artist of Ukrainian descent, explores some of these spiritual manifestations of Old Europe, including cultural representations that do not consciously imitate natural forms, but rather become the language of myth, symbols of abstract concepts of the supernatural, and notions of cyclical change, death and regeneration. Drawing upon imagery of Western Ukraine dating back to the early fourth millennium she reclaims the "Goddess Creatrix" of late Cucuteni (Trypilian) figurines. Throughout the series, CONFORMITY: FOUR STUDIES, SOLITUDE and LUNAR VISIONS, Lada juxtaposes those matrifocal values that honour the passage of time with her personal experience of "ageism" as a prejudice within present day patriarchy. Her investigation posits an alternative perspective to current social constructs. In doing so, value systems are challenged; relationships between the personal and the environment are demonstrated; and self image is understood as inseparable from world views. 

Lada has rejected patriarchal restrictions and claims personal values intrinsically bound to spiritual identification. Like the current movement by aboriginal peoples towards reclaiming ancient identities and values, Lada's series traces her own ancestral roots to create a "personal" identification with matrifocal goddess prehistory. 

Lada's female figures have an uncanny Orwellian feel and are foregrounded throughout this series. Often doubled, these figures reinforce not only their stylized form and manufactured conformity, but also they become an insidious signifier of subjugation and control. With their backs to one another and their arms tightly folded, their relationship is revealed to their counterpart and to the viewer. This coldness is further enhanced by a penetrating gaze which looks through and beyond the viewer. Though faces may often be obscured or fragmented, they are charged with a militance. This combative quality appears also in the clothing worn; helmets of steel screwed to their heads accompanied by bracelets that bind and arm bands bolted to their forearms. These adornments become misnomers as they articulate the entrapment suffered by these figures. Identity and power seem lost; a manufactured encasement is prescribed. A new goddess has been created to serve within the monotheism of patriarchal values. 

Juxtaposed to these female forms are images of goddess figures dating back to Old Europe. The reference to and the adaptations of sculptures of this tradition creates a visual counterpoint. This poignantly sets up the drama between matrifocal prehistory and the patrifocal contemporary entrapment of women. In many of Lada's depictions of the goddess she appears ravaged not only by time, but also by her obfuscation. The monochromatic graphite drawings of CONFORMITY: FOUR STUDIES utilizes one sole representation of the goddess which is either fragmented or charged with a penetrating gaze similar to her contemporary counterparts. However, this gaze projects a painful plea not found in the unconscious stare of the mannequin-Iike figures. Lada's use of this sole representation of the goddess highlights the similarities of the plight of the ancient and modern icons. 

Throughout the progression of her subsequent series, SOLITUDE, and LUNAR VISIONS, Lada begins" to empower the images of the ancient goddess by representing her diversity. Large, luscious female forms are depicted, articulating the power and fecundity of the deities. However, tension is maintained between the ancient goddesses and their modern prototypes through the use of a consistent backdrop which consists of numerous repetitive elements. These elements include a metallic like standard rectangle articulated by corner screws, intersected by various depictions of a sphere. This mandala symbol represents a search for completeness and self unity and becomes a container framing the focal point of each image, illustrating the relationship of its contents. Depictions of the moon and the earth within several of the spheres, refine the connections between the source of ancient female power and healing and Lada's own personal reflection upon and desire for self-knowledge through the investigation of her ancestral roots. 

LUNAR VISIONS, through the medium of paint, incorporates another unifying element, while expanding upon Lada's visual vocabulary. Each of the twelve gouache paintings is treated with a similar watery blue wash inspired by the light of the Canadian prairie night sky. This all encompassing blue once again connects ideas of female power and healing with natural phenomena: the sky and the sea. The indigo tone has a solemnness, while assuming a meditative effect that inspires examination of each collection of images and symbols within the narrative. 

CONFORMITY: FOUR STUDIES, SOLITUDE and LUNAR VISIONS are more than just an artist's desire to identify her disenfranchisement with contemporary culture and address her loss and longing for spiritual connection through the use of images of ancient artifacts. Rather this body of work is an indictment of the obfuscation of women, particularly the Crone, the wise one. Lada's images identify the cultural fixation with youth and the delegation of aging. Fecundity is understood only as it relates to the physical, and the power and wisdom of the old is sublimated and made invisible. This is the theme that has been explored within this series. Lada identifies through her female forms this dilemma and attempts to find within these figures the power which lies hidden. Through her study of the myths and stories that framed her childhood, coupled with her experience of life, she has created an ongoing narrative which as it unfolds demonstrates the losses for all women within a patriarchal construct and establishes a "source" where feminine power can be retrieved. Lada's investigation humanizes our history, a history profoundly remote, and inspires remembering and imagining. . . . 

1 Marija Gimbutas, The Goddesses and Gods of Old Europe, University of California Press, 1982, p.13. 

Bibliography 

Eisler, Riane. The Chalice and the Blade. San Francisco: Harper & Row Publishers, 1987. 

Gimbutas, Marija. The Goddesses and Gods of Old Europe. University of California Press, 1982. 

Jung, Carl G. Man and His Symbols. Garden City, New York: Double Day & Company Inc., 1964. 

Lippard, Lucy. Overlay. New York: Pantheon Books, 1983 

Linda Abrahams is the Editor of Matriart, A Canadian Feminist Journal published by the Women's Art Resource Centre, Toronto, Ontario. 

Penelope Stewart is a practicing artist and the Documentation Facility Coordinator at the Women 's Art Resource Centre, Toronto, Ontario. 

FUNDING FOR THIS PROJECT WAS PROVIDED BY THE HERITAGE CULTURES PROGRAM OF MULTICULTURALISM AND CITIZENSHIP CANADA .