Fine Art

Grace Visits: Artist Daria Dorosh

I am greeted at the door by the artist Daria Dorosh. Her dark eyes are framed by a halo of white hair, one side bluntly cut short and the other long and grazing her shoulder — physical evidence of her  belief in the “unity of two  opposites,” which create harmony. Her passion is contagious: investigating and questioning the role of women in art; the importance of location and object-making, be it a wall, a public space or the body;  and the role that technology plays in making art. “We are the only generation that has gone from analog to digital . . .” she says.

Before 1989, Dorosh was a minimal and pattern painter. “Until I hit Photoshop [a computer program],” she says, “a tool that is the next level of collage with many more options. . . it is actually a ‘shredder’ stitching together pixels.” Following Dorosh around her home as she points out earlier works, listening to her talk, mesmerized by the words bouncing around the room, a cascading confetti of language intermixing with the hypnotic light of the warm afternoon sun pouring through the windows, I am witnessing a life that has one foot in its intractable realities, and the other in the magic of invention and play.

Artist Daria Dorosh on bed with her “comfort creatures” and on the wall her digital print with sewn textiles, “Follow the Pattern, Scene One,” 2007.

Born in an old medieval town in Ukraine, Dorosh came to the United States when she was seven years old at a time when Stalinist Russia eradicated people that were educated and had money, including many of Dorosh’s relatives. Being an immigrant in New York City and having to learn a new language was difficult. But her mother’s resilience and ambition, finding employment as a chamber maid at the famed Waldorf Astoria Hotel and eventually working for its vice president helped support the family. She then later became a buyer for Bergdorf Goodman’s fashion department. Perhaps that role was a catalyst for Dorosh who had been a student at the Fashion Institute of Technology and then Cooper Union studying fashion illustration and fine art. “The immigrant situation never goes away,” she says, “when I was younger I thought it was my parent’s past, but that’s not true.”

Dorosh’s “inner child” is a survivor, which appears as a textile sculpture, Doily Face (2012) — the artist’s alter-ego/avatar. It is a mischievous persona whose jeweled eyes stare at you with a beguiling cockeyed look, girly and naughty, sprouting two miniature babes from her head tied together with an umbilical cord of whimsy, all  nestled in a red witch’s conical hat, perched on a shelf. It is a fairy tale world of contradictions for both children and adults. Dorosh’s work often celebrates the exuberance of a child’s wildly unfettered originality including “critters” and “comfort objects,” and often locates the sculptural images into moody, religious-themed 19th century engravings.  Since, she says “we live in a world of replication, ad infinitum” individual frames that cannot be duplicated are integrated into each digital image. With what she calls an “allegiance to rescuing old art . . . enjoying the idea of fusing the past with the present [and] time being bridged…” there is an essential element of the DEEP Play series. What Dorosh calls, “humor with a bite.” An example is To Look (2012), where Doily Face becomes anthropomorphized — eyes popping in uncertain fascination at the cataclysmic forces of nature erupting, a volcano spewing out fire with smoke crashing into the water cooling the glowering heat.

Join the conversation

  • Mimi Smith February 10, 2017 at 11:13 am

    Wonderful article about Daria’s terrific work. Congrats to Daria and Grace for this excellent article. Also so glad to see Daria’s great art images!

    Reply
    • Grace Graupe-Pillard February 10, 2017 at 11:14 am

      Thanks Mimi for your comment – It is so appreciated.

      Reply
  • submit please February 7, 2017 at 8:26 pm

    “Art over the years has (revealed) my path . . . a magical world of possibilities.” Daria is one of my favorite artists. Your writing reveals some of the fascinating, and inspiring qualities one has in seeing her work, its playful, mysterious, and thought provoking. Often hilarious as well as puzzling…..I wish that more images could be shown, words can fall short of deciphering all that one senses. a true art of wonder. Thanks to you both for writing and making this essay.

    Reply
    • Grace Graupe-Pillard February 7, 2017 at 11:05 pm

      Thank you SANDY GELLIS for the above comment – Much appreciated.

      Reply
  • Suzan Globus February 7, 2017 at 3:04 pm

    Daria stitches her history into her feminine and quirky figures which command a closer look. Even the shelves take on a persona. I am especially attracted to her Narcissus series which combines digital manipulation with hand stitching. Once again, you have introduced an artist whose fascinating work I may not have known otherwise. Thank you for writing this valuable series.

    Reply
    • Grace Graupe-Pillard February 7, 2017 at 11:06 pm

      Suzan – So pleased that you are responding. Thank you.

      Reply
  • patricia lee stotter February 7, 2017 at 9:15 am

    Daria weaves grace with beauty creating a fabric of knotty consideration that offers shelter from and exposure to the storm…
    wonderful piece about a strong woman, powerful artist.

    Reply
    • Grace Graupe-Pillard February 7, 2017 at 11:06 pm

      Thank you Patricia Lee.

      Reply
  • Grace Graupe-Pillard February 7, 2017 at 5:32 am

    I want to thank Daria Dorosh for giving me this opportunity to visit with her. It was a pleasure!

    Reply