Salterra
Acrylic, Paper
20x20x2in
$2,400
or
You can also call us at +1 646-844-3541
- Professional worldwide delivery, monitored by our logistics experts
- Shipping fees, duties and taxes are included in the price
- 30-day free returns (except made-to-order items)
Singulart guarantees reliability and traceability.
All the artists on the platform have been specially selected and certify to only sell works, of which they are the artist. Whatever the medium, the work is sent to the buyer with a certificate of authenticity. Photographs are numbered and signed.
Every customer can be given a copy of their certificate of authenticity by contacting support@singulart.com
With Singulart, you can pay safely by credit card or bank transfer.
For all transactions exceeding your credit limit, contact us. We are required to verify every transfer, as part of the fight against fraud and money laundering.
Singulart prices include:
- Price of an artwork defined by an artist.
- Insurance. Your order is 100% protected in case of any damage or loss.
- All customs fees, taxes, and document preparation.
- Third-party logistic provider shipping costs.
- A dedicated Singulart customer care specialist that will assist you with any questions or problems during shipment.
Natalia Tykhoniuk
Switzerland
Related collection
The Persistence of Dust
20 pieces
Artist highlights
- Favorited by galleries
- Featured in gallery curations
- Works on commission
Discover the creation in interiors
Other artworks by Natalia Tykhoniuk
Artwork details
- Medium : Acrylic, Pigments on Canvas
- Other details : Artwork on supported wooden frame. Ready to hang. Framing on request.
- Dimensions : 11.8x11.8in
About this artwork
Mooslicht is a sculptural meditation on light within shadow — a textured fragment of forest memory, where growth and decay meet in quiet equilibrium. Formed by hand from recycled paper clay and layered pigments, its surface evokes moss-covered bark, damp stone, and the luminous hush of earthbound silence.
The muted palette of deep greens, charred umbers, and glints of ochre suggests a forest floor glimpsed at dusk — not painted, but absorbed into… form. This piece does not depict nature; it slows to its rhythm. Rough and irregular, its texture invites touch and stillness, anchoring space with a calm, tactile presence.
Part of the Mur Vitae series, Mooslicht speaks to the quiet resilience of natural surfaces — shaped not by design, but by instinct and erosion. It becomes both memory and material, a soft anchor in space and a contemplative pause in the rhythm of interiors.
A natural artifact reimagined — intimate enough for stillness, sculptural enough for architecture.
The muted palette of deep greens, charred umbers, and glints of ochre suggests a forest floor glimpsed at dusk — not painted, but absorbed into… form. This piece does not depict nature; it slows to its rhythm. Rough and irregular, its texture invites touch and stillness, anchoring space with a calm, tactile presence.
Part of the Mur Vitae series, Mooslicht speaks to the quiet resilience of natural surfaces — shaped not by design, but by instinct and erosion. It becomes both memory and material, a soft anchor in space and a contemplative pause in the rhythm of interiors.
A natural artifact reimagined — intimate enough for stillness, sculptural enough for architecture.
Natalia Tykhoniuk
Switzerland
Credentials
- Favorited by galleries
- Featured in gallery curations
- Works on commission
I was born in a city that no longer exists as it was. Mariupol — once sea and sand, now ash and absence. Yet even what disappears leaves its trace. That trace is what I follow.
I live now in Zurich, but my hands still carry the earth of elsewhere. I grind straw, soil, bark, ash into matter that resists beauty. These are not materials chosen—they are what remains.
I am close to Arte Povera, because in the poverty of matter lies genius: the truth that nothing is too small to hold memory. I am close to wabi-sabi, because time itself writes through imperfection, through cracks, through silence.
My vessels and wall pieces are not objects. They are witnesses. Companions of dust and silence. Fragile, yet enduring. They stay when all else is gone.
I live now in Zurich, but my hands still carry the earth of elsewhere. I grind straw, soil, bark, ash into matter that resists beauty. These are not materials chosen—they are what remains.
I am close to Arte Povera, because in the poverty of matter lies genius: the truth that nothing is too small to hold memory. I am close to wabi-sabi, because time itself writes through imperfection, through cracks, through silence.
My vessels and wall pieces are not objects. They are witnesses. Companions of dust and silence. Fragile, yet enduring. They stay when all else is gone.
