From the Series "Vertep (The Nativity Play)"

Kostiantyn Zorkin is a Ukrainian artist whose artistic practice spans performance, installation, puppet theater, sculpture, graphics, land art, and more.

Summary of Kostiantyn Zorkin

Zorkin’s art practice is defined by using ink and paper, as well as wood and metal, employing manual techniques for their processing. A key theme in his work is the return of art to its magical and mythological function.

Biography of Kostiantyn Zorkin

The artist was born in 1985 in Kharkiv, Ukraine. He attended the Kharkiv Academy of Culture, where he studied Cultural Studies. He is the author of puppets and set designs for the productions of Oksana Dmitrieva, the director of the Kharkiv Puppet Theater. These include "Vertep" (2022) and "Giraffe Mons" (2023).

Kostiantyn’s paintings have been showcased in solo exhibitions at various prominent venues, including the Kharkiv Municipal Gallery, Dzyga Gallery in Lviv, Stedley Art Foundation in Kyiv, YermilovCenter in Kharkiv, Artsvit Gallery in Dnipro, and the Odesa National Fine Arts Museum, among others.

In addition to his art career, he is a lecturer, teaching courses on the theory and philosophy of visual art. Currently, the artist lives and works in Kharkiv. 

Kostiantyn Zorkin’s Famous Paintings: Exploring the Mythical

The artist weaves together diverse mediums and techniques. Among Zorkin’s original paintings are works from his renowned series “Vertep (The Nativity Play)” (2023). Other notable works and projects include “Three Prayers for Kharkiv” (2024), “Harvest” (2024), “Meeting in a Dream” (2023), and “Sign Language” (2022). Kostiantyn Zorkin’s paintings for sale are available on the UFDA website. 

Kostiantyn Zorkin’s Art Style

The artwork of Kostiantyn Zorkin is characterized by the reinterpretation of archaic ritual practices, the development of personal mythology, and the integration of performative and interactive elements. Central to his process is meticulous craftsmanship, often working with natural materials such as wood and iron.

In recent years, the artist’s practice, which had primarily been focused on working with wood, unexpectedly expanded to include a more aggressive material—metal. In his project, "Protective Layer," the wounding and wounded metal becomes a representation of the emotions of wartime, the constant interplay of protection and vulnerability, mirroring the sensations of the human body.