Remembering Atroshenko

I knew Viacheslav Atroshenko for a while in the late 1980s, a few years before he died. He was a painter who also ran a gallery, in London’s Pimlico, supported by his wealthy patron partner. He oozed exoticism, born in Shanghai of Ukraininan parents. One weekend we went to stay in their house in the country, a modernist masterpiece hidden away in Oxfordshire, the house used to film the notorious rape sequence in Clockwork Orange. All of the internal angles were five degrees away from right angles, which proved to be profoundly unsettling. Outside, Atroshenko had created a Japanese garden. Both house and garden are listed by English Heritage. 

I’m reminded of all of this because I came across two of his paintings on the stairs of Charing Cross Hospital a few days ago, their bright abstraction bringing to life what would have been a profoundly depressing stairwell. A detail from one–Divina Incarnation–is at the top; all of the other–White Light–complete with stair bannister, is here below. I am pleased to remember him like this, through a chance encounter in a hospital. 



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