'Working on this project with the Frick has made me feel like I want to start thinking about environments and how to build a more immersive space to look at paintings in—how the paintings could maybe speak to other parts of the room, like sculptural elements, benches, wall coverings and so on.'
'The show has been fed by the idea of doom scrolling and our digital descent into chaos—the experience of being absolutely surrounded and bombarded by imagery and feeling like you have to keep up with everything, because it’s all changing so fast. This made me think of Bacchanalia [the Greco-Roman festivals of Bacchus or Dionysus, the god of wine, known for drunken revelry], so I’ve been looking at Roman architecture and Roman decadence as well as a lot at French academic painting and images of Hollywood and advertising.'
Image: Flora Yukhnovich in her London studio, 2024© Flora Yukhnovich
Courtesy the artist, Hauser & Wirth and Victoria Miro
Photo: Kasia Bobula
