Selected work
Series: Celebatarian Name: Bachelor in Miami (save the rich) Edition of 82017
 - 200 x 100 cm Stainless steel, fiberglass, chameleon colour
Selected work
Series: CelebatarianName: Bachelor in Miami (Emoji #2)
 Edition of 8
2016
 - 200 x 100 cm Stainless steel, fiberglass, candy colour
Selected work
Celebatarian 100x90 cm Stainless steel, chameleon colour
Selected work
Celebatarian on vocation 4 (red) Edition of 10 2016 - 90x90 cm Acrylic
Selected work
CELEBATARIAN ON VOCATION 1 (Green) Edition of 10 2016 - 60 x 60 cm Acrylic, candy colour
Selected work
CELEBATARIAN ON VOCATION 2 (Red) Edition of 10 2016 - 60 x 60 cm Acrylic, candy colour
Selected work
CelebatarianVolume 10 139 x 180 cm Mixed media on canvas
Selected work
CelebatarianVolume 7 200 x 100 cm Mixed media on canvas
Selected work
Selected work

LINA CONDES

(Born in 1988 in Cherkassy, Ukraine)

Lina Condes received her BA and her Masters in Design (Honours) from the Kyiv National University of Technologies and Design. A former contestant for the Miss Ukraine beauty pageant, Condes redirected her efforts towards art production and design with group projects during Ukrainian Art Week (Kiev), the MAGMART Film Festival (Naples), and the Berlin Fashion Film Festival. Solo presentations of her work have been held at the M17 Contemporary Art Centre (Kiev), SV Gallery (Beirut), and with Avant Gallery (Miami) for the 2016 edition of the SCOPE Art Fair. Condes lives and works in Miami and Kiev. The fusion of architecture, technology and biological science used to advance or accelerate human development was rolled into a single term by USAF Colonel and doctor Jack E. Steele. His work in psychiatry and neurology was a prophetic, if not disquieting, glimpse into the longing, the desire for human beings to allow technology to act as a “godlike” extension of ourselves. In the structures, we build and in that imitable structure, the human body, we see beauty. Lina Condes incorporates principles of bionic architecture and design into her work. They appear simplistic and crude (the globally-known symbol of the “stick figure” implies a lack of understanding or a refusal to emulate our three-dimensional surroundings), but once finished, they communicate gestures which no machine could fully replicate. A full series these “stick figures” are engaged in motions recalling sexual intercourse; there is no indication of identity, no indication of response or stimulus from these seemingly “dead” pieces of steel. They are rendered via computer technology, but their end result is far from mechanized. In one series, these stick figures embed themselves into the foil wrappings of a standard condom; “protection” in one sense, “freedom” in another. Yet, as any well-tested work of Pop Art would achieve, it reflects the emptiness and anonymity of common actions that have no attachment to colour, creed, gender, religion, language or sexual orientation. All at once, her painted and sculpted stick figures are absurd, funny, sad and profound. They are hysterically self-aware, shameless in their straightforward crudity. Reduced to the “bare bones” of what qualifies as human, Condes presents her figures as nameless, featureless entities performing a physical act that only living things can observe, perform and appreciate.