Nestor Tobchy’s work interweaves paradoxical strands of thought, incongruous painting techniques, disparate artistic traditions, and antithetical pictorial attitudes to express a coherent and pantheistic vision of reality.
While in school in Baltimore in 1981, Topchy chanced upon an exhibition of Yves Klein’s IKB work. Topchy credits Klein’s use of a saturated ultramarine blue pigment that represented “the void” as a pivotal discovery. After using this color on spherical sculptures, Topchy realized their connection to Pysanky, the ornately decorated Ukrainian Easter eggs he made in childhood with his mother and grandmother. Following in Klein’s footsteps, Topchy earned a black belt in judo under Karl Geiss, which led to studies in Buddhism and a deeper understanding of his Ukrainian roots and identity as a dual American and Canadian citizen.
Geometry of a Painting, 2012. Documented by Cressandra Thibodeaux