L.A. Woman, A Memorial Exhibit
Closing Celebration Featuring Cello Performance by William Jason Raynovich
William Jason Raynovich, composer, cellist, and experimental sound artist, presents a curated musical program for the closing reception honoring Orysia Antonovych on May 3, 2026 at 1:00pm. Over the years, Raynovich came to know Orysia, whom many also knew as Irene, through her consistent and generous presence at performances at the Ukrainian Institute of Modern Art. He recalls not only her support of the arts, but the warmth, elegance, and attentiveness she brought to every encounter. Among these memories are the many conversations they shared, her thoughtful artistic gestures, including a drawing she made of him, and photographs marking moments of connection. Her presence left a lasting impression: one defined by curiosity, kindness, and a deep commitment to artistic life. Honestly, I think of Orysia as one of the most elegantly, serene person I have ever had the honor to spend time with.
This performance is offered in memory and in gratitude. At its center are two works for solo acoustic cello: “28.VII.1750… in memoriam J.S.B.” by Ukrainian composer Valentin Silvestrov and “Passacaglia Ucraina” by Roman Turovsky. Silvestrov’s work carries a reflective and spiritual quality, one that resonates with a sense of inwardness and quiet remembrance. Turovsky’s piece, shaped by his dual identity as both visual artist and composer, reflects an interdisciplinary sensibility that parallels Orysia’s own wide-ranging engagement with artistic forms. Although it is not known whether she encountered Turovsky’s work directly, his artistic path suggests a kinship of approach. One in which creative expression moves fluidly across mediums.
In addition to these works, Raynovich incorporates selections from an evolving performance practice he has developed over the past three years and presented in various forms across multiple venues. This material includes compositions by Alvin Lucier, Pamela Z, Eve Beglarian, Colin Kemper, as well as his own works. These pieces, while diverse in language and approach, are brought together through a shared attentiveness to sound, space, and perception.
The featured piece on the program will be Raynovich’s “now for electric cello and electronics.” This piece is a culmination of year’s of work. This work is intended for now and each performance is a relatively unique experience.
The program is presented as a continuous, unbroken set, allowing the boundaries between works to dissolve into a larger sonic environment. Acoustic cello repertoire and experimental practices coexist within this structure, forming a unified arc rather than a sequence of discrete pieces. Audience members are invited to move freely throughout the space during the performance, engaging not only with the music but also with the surrounding exhibition. In this way, the performance does not stand apart from Orysia’s creative life, but exists within it, offering one final gesture of connection, memory, and reflection.