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The Last Lantern (2026) Original Acrylic Painting by Svitlana Zezekalo

50 x 90 x 1cm (unframed)

£686.24

The Last Lantern is a contemporary architectural painting from the Architecture of Memory series, exploring how a single fragment of light can preserve the emotional presence of a place.
An old building emerges gradually from a deep, almost black ground, its façade constructed through layers of burgundy, muted terracotta and earthy tones. Much of the surrounding architecture remains absorbed by darkness, while the glow of a solitary street lantern becomes the visual focus of the composition.
Rather than illuminating the entire scene, the lantern reveals only fragments — part of a wall, the suggestion of a street, traces of architectural detail. The rest is left unresolved, allowing darkness to become an active part of the image.
Vertical drips and blurred marks extend through the lower part of the painting, suggesting reflections on a wet street and reinforcing the sense of a city perceived through atmosphere rather than precise description. Expressive brushwork and areas of exposed dark ground allow the building to shift between physical structure and remembered image.
The title The Last Lantern refers to this remaining point of light — a small but persistent presence within a space that is gradually disappearing. Like memory itself, it does not reconstruct the whole place; it preserves only what continues to resonate.
Part of Svitlana Zezekalo’s ongoing Architecture of Memory series, the work reflects on architecture as a carrier of memory, where light, surface and fragments of built space can retain the experience of a place long after its details have faded.
This 90 × 50 cm original contemporary painting combines architectural cityscape with expressive and semi-abstract elements, using a dark, atmospheric palette contrasted by a concentrated area of warm light.

Materials used:

acrylic on canvas, acrylic matte protective varnish

Details:

Featured by our Editors:

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The Last Lantern is a contemporary architectural painting from the Architecture of Memory series, exploring how a single fragment of light can preserve the emotional presence of a place.
An old building emerges gradually from a deep, almost black ground, its façade constructed through layers of burgundy, muted terracotta and earthy tones. Much of the surrounding architecture remains absorbed by darkness, while the glow of a solitary street lantern becomes the visual focus of the composition.
Rather than illuminating the entire scene, the lantern reveals only fragments — part of a wall, the suggestion of a street, traces of architectural detail. The rest is left unresolved, allowing darkness to become an active part of the image.
Vertical drips and blurred marks extend through the lower part of the painting, suggesting reflections on a wet street and reinforcing the sense of a city perceived through atmosphere rather than precise description. Expressive brushwork and areas of exposed dark ground allow the building to shift between physical structure and remembered image.
The title The Last Lantern refers to this remaining point of light — a small but persistent presence within a space that is gradually disappearing. Like memory itself, it does not reconstruct the whole place; it preserves only what continues to resonate.
Part of Svitlana Zezekalo’s ongoing Architecture of Memory series, the work reflects on architecture as a carrier of memory, where light, surface and fragments of built space can retain the experience of a place long after its details have faded.
This 90 × 50 cm original contemporary painting combines architectural cityscape with expressive and semi-abstract elements, using a dark, atmospheric palette contrasted by a concentrated area of warm light.

Materials used:

acrylic on canvas, acrylic matte protective varnish

Details:

Featured by our Editors:

Location Croatia

About
I am a Ukrainian contemporary artist living and working in Croatia. My practice is centered on memory, architecture and the way personal experience changes our perception of place. In my... Read more

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