Soviet-era

New Artwork: Loafing

This substrate is one of my favorites: a Soviet military artifact in the form of a preprinted 1980s wall-newspaper “Combat Sheet” used aboard Soviet Navy ships, produced by Voenizdat, the Soviet Armed Forces' own publishing house. It explicitly states in Cyrillic, “DO NOT TAKE OUT OF THE MILITARY UNIT.” These sheets, filled out by hand at the unit level, were the shipboard equivalent of a bulletin board - part morale-booster, part public callout for slacking or bad behavior among the crew. They typically featured brief reports on military exercises, political education notes, commendations for standout soldiers, critiques of lax discipline, and satirical cartoons or caricatures (known as satirical combat sheets) targeting common faults like sloppiness or laziness.

This one was unused, so I filled in the blanks myself: a date, an issue number, a painted black-headed gull, and a signature. In my other black-headed gull paintings, the gulls are actively shooting lasers or flying. In this piece, the gull is loafing.

The issue number and date I chose relate to Mathias Rust’s infamous, unauthorized flight from Helsinki to Moscow. This West German teenager coincidentally chose Border Guards Day (May 28th) for his escapade, which added to the overall confusion. Air defence units tracked his plane for some of the time, but failed to obtain permission to shoot at him. He successfully landed on Bolshoy Moskvoretsky Bridge adjacent to Red Square, and was arrested two hours later.

Rust's flight severely damaged the Soviet military's reputation. The incident inspired dark humor among Muscovites who nicknamed Red Square "Sheremetyevo-3" (Terminal 3, joining the international airport’s Terminals 1 & 2). Rust's Cessna is now preserved on display at the German Museum of Technology in Berlin, and a monument stands at Saka Manor Park in Estonia. (Source: Wikipedia.)

This is Loafing, acrylic and ink on Soviet combat sheet from the 1980s, 17.5x11.2”, 2026.

Shelby Prindaville's painting of a loafing gull on a Soviet combat sheet from the 1980s.

Shelby Prindaville's painting of a loafing gull on a Soviet combat sheet from the 1980s.

New Artwork: The New Collective

This piece continues my series of paintings atop printed stationery from the Soviet occupation period in Estonia, issued under the ENSV (the Eesti Nõukogude Sotsialistlik Vabariik, or Estonian Soviet Socialist Republic).

The substrate features Soviet-era industrial graphic design for Pärnu KEK (the Pärnu Külaehituskombinaat, or Collective Farm Construction Office). Founded to build infrastructure for rural collective farms, KEK eventually expanded into a broader portfolio of late-Soviet modernist architecture, becoming one of the more distinctive construction enterprises of the era.

I chose to paint another realistic, volumetric stork, this time sitting in a flat graphic semicircle “nest” that mirrors the geometry of the underlying design. KEK's original mandate was building the physical infrastructure of agricultural Estonia. Storks nest reliably on farm rooftops and chimneys across Estonia, colonizing the infrastructure the decommissioned collective left behind.

This is The New Collective, acrylic on occupied Estonian printed cardstock c. 1980, 11.38x8.2”, 2026.

Shelby Prindaville's painting of a white stork nesting on Pärnu KEK ENSV stationery c. 1980.

New Artwork: Vigilance Is Our Weapon

A companion to Surveillance, this work casts black-headed gulls as drones above a sea built from lace- and felt-placemat stencils and stamps. To evoke the stark visual language of USSR propaganda, the composition relies on a limited color palette and flat, simplified forms. The painted red laser beams begin as perfokaart stencils and then scale progressively toward the panel's edges. The substrate is a crochet base panel used for bags and accessories; ironically, the perforations in the panel are laser cut. Through its use of domestic textile imagery and substrate, the piece serves as a bridge between my Soviet occupation series and my ongoing explorations of Estonian craft traditions.

The title of this piece comes directly from a USSR propaganda poster from 1953.

This is Vigilance Is Our Weapon, acrylic, lace and perfokaart stenciling, and felt stamping on crochet base panel, 11.8x11.8x.125”, 2026.

Shelby Prindaville's gulls-as-drones painting on crochet base panel.