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Yuliia Holub
Лат. «близнюки» — відсилає як до фізичного подвоєння об’єктів, так і до психосимволічного дзеркалення, що лежить в основі серії.
Ці скульптури завершують серію як підсумковий жест — втілення її центрального бажання. Це єдині парні об’єкти: формально схожі, тонко відмінні, нерозривні у функції. Разом вони символізують неможливість цілісності й тугу за психічною повнотою.
Вони є фетиш-об’єктами у лаканівському значенні: не інструменти, а згущення нестачі. Гладкі й герметичні, неоднозначні за призначенням, вони ніби прагнуть єдності не через функцію, а через саму присутність.
Yuliia Holub is a Ukrainian artist working in painting and installation. Her practice centers on the human experience and the awareness of life’s fragility.
In her work, Holub rejects the idea of reincarnation as a concept that absolves responsibility for lived experience. Death, in this framework, is not a transition but a boundary beyond which the subject ceases to exist. At the same time, it becomes a point from which the meaning of a life lived can be assessed: everything that matters occurs here and now.
The artist does not illustrate concepts; rather, she works with forms that emerge from experienced states. Her works do not argue a point or explain a theory—they give material form to a condition that has already occurred.
Since the onset of the full-scale invasion, her practice has shifted from holistic imagery to fragments. In these works, conventional notions of the human no longer function, and experience manifests through ruptured structures and bodily reactions that are no longer suppressed. The absence of wholeness is neither masked nor compensated for; it is documented as a valid state.
Holub combines organic forms with metallic and mirrored surfaces. Surreal imagery serves as a method for engaging with experiences that have yet to acquire direct language. One of her key series, EXUVIAE, explores the transformation of what remains after the loss of subject integrity and may undergo dehumanization. Works in the series do not reconstruct narratives or propose models of healing; they document protective reactions to external influence.
