Ballerina Lenochka in Black (2025)

Oil on the Found Porcelain Figurine
Size: 20 x 20 x 12 cm | 7.9 x 7.9 x 4.7 inch

$800
Shipping included
Buy Open Edition Print on Saatchi Art

Artwork Details

This artwork is a found original soviet-era porcelain figure of Seated Ballerina decorated with oil paint.
It is signed, titled, and dated on the bottom.

Shipping

Ships with EMS (Express Mail Service) worldwide.
All works of art are carefully packed and can be tracked online. Original artworks and mounted prints are shipped in a wooden crate. Unmounted paintings and prints are shipped in a dent-resistant tube.
Shipping times vary depending on the destination country but usually take between two and three weeks. Please allow for these up to 5 business days of preparation and packaging time before the artwork is shipped out.

PLEASE NOTE: The buyer will be responsible for paying international customs fees, determined by the country in which the artwork is being shipped to. Please check with your country's customs office to determine what these additional costs will be prior to making a purchase.

Certificate of Authenticity

Each piece you purchase will come with a certificate of authenticity, a signed document proving the authenticity of the work and containing details about the artwork for your reference.

About the Artwork

This contemporary sculpture begins its life as a modest Soviet‑era porcelain ballerina—one of the delicate figurines originally sculpted by Ukrainian artist Oksana Zhnykrup. In 2017, Jeff Koons magnified that humble prototype into a 13‑meter inflatable installed before New York’s Rockefeller Center. I, too, was drawn to the power of this icon: its marriage of graceful form and state‑sponsored ornament.

Having collected several of these vintage figures, I set out to transform them into something at once familiar and unsettling. Through hand‑applied pigments, polka‑dot patterning, and a dense, black impasto “costume,” I deliberately pit classical poise against the grotesque. In doing so, I probe the fault lines between beauty and kitsch, between the superficial allure of ornamentation and the darker legacies such objects conceal.

This reimagining does more than deface—it liberates. By layering new textures and colors over the porcelain’s once‑pristine surface, I expose the ideological fantasies baked into every curve of that little dancer. The work asks us to reconsider our inherited definitions of “beautiful” and “ugly,” to acknowledge the wounds of history encoded in decorative art—and ultimately to reclaim these fragments of the past, forging fresh meanings from their broken shine.

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