To look at Sana Shahmuradova Tanska’s paintings is to sense that something is awry, without quite knowing why. A series of canvases hanging in Artspace in Woolloomooloo as part of the Biennale of Sydney depicts strange, fantastical scenes that walk a line between Dionysian and dystopic: naked female figures in molten, fiery landscapes; mussels with moony faces swimming next to protean, fish-like forms; anthropomorphic suns weeping over rural landscapes.
Most of the paintings were created in the artist’s studio in Kyiv – some before Russia’s “full invasion” of Ukraine on 24 February 2022, and others immediately after. “That’s just how I keep track of time,” she says. “It’s like this line before and after.”
