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 Lydia Dona  (1955 - )

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Lived/Active: New York / Israel      Known for: non objective, abstract genre painting

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Ad Code: 3
Lydia Dona
from Auction House Records.
Fields and Zones of Germinality and Flowers
Artwork images are copyright of the artist or assignee
This biography from the Archives of AskART:
Lydia Dona was born in Bucharest, Romania in the communist era in 1955 and fled with her parents to Israel in 1961. Her artistic education began in Jerusalem at the Bezalel Academy, an art school strongly influenced by conceptual art, performance art, Arte Povera, and the lexicon of Joseph Beuys. 

As a painter, her interest in the European and American legacies of Marcel Duchamp, Abstract Expressionism and abstraction led her to consider continuing her education abroad. She arrived to New York City in 1978, after an investigation of possibly studying at the Dusseldorf Academy, but decided that the late seventies in New York made the School of Visual Arts a more dynamic environment for a young painter. She graduated with a BFA with classmates such as Keith Haring, Tim Rollins and many other graffiti-oriented artists.

Her non-formal abstract approach that was connected to science fiction, machinery and what she refers to as “phantasmological imagery” led her to further her education at Hunter College, studying with Ralph Humphrey and Ron Gorchov.  She graduated with an MFA in 1984.

Throughout her exhibitions, Lydia Dona has evolved as an analytical artist confronting and examining abstraction, while using various diagrams derived from car manuals and architectural maps that refer to painting and urban existentiality.  Her growth in the work moves towards those incorporations, technological shifts and their impact on the human body.  Her bold colors resemble cosmetics, emergency, scientific or metallic colors which give the viewer the most intense experience of watching a scene. 

Lydia Dona’s secret is that she does not drive a car, but the car manuals operate as anatomical books. Her obsessive Film Noir passion give her work an urban edge, one that can only be experienced through the slow watching, the high speed and slow-motion of painting.

The geographical location of her ground zero studio and the events of 9/11 and its displacement have been channeled into her more recent and large-scale works.  These monumental and cinematic diptychs and triptychs titled From Heat to Sub-Zero, incorporates complex elements and energies of biological and urban drama.

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