In my artistic practice, I focus on the image of femininity, exploring the limits of this concept, and the possibilities of its definition beyond the binary opposition. The bodily and emotional nature of women has its own unique qualities, its own ‘magic’, its own ability to live through pain, instead of casting it away. Women's nature harbours immeasurable power, yet at the same time it is childishly fragile, carrying the impermanence of emotional resonance. Within a visual symbolic language, I seek to convey images of the female biofield and its inextricable connection to emotion. I depict how the deepest and most ambiguous emotions would look if they were expressed in full body language. In reality, this is not the case, because the body is not only a medium, but a safeguard that protects the heart, our feelings and our memory.
I am interested in the multifaceted nature of emotion, its complexity and ambiguity, its inability to merge fully with the concepts of language that are forced to operate with one another. Emotions in my work are always intertwined, polymorphous, quiet - the exact opposite of those in the traditional genres of comedy or tragedy. For me, art is by no means reducible to genres, but represents the only way to actualise deep emotions and to separate the sensual. This is the ontology of artistic practice itself - to elevate into aesthetic form that which is inexpressible, not reducible to a word or a thing.
For women, the ability to notice and share such extra-linguistic manifestations of emotion is not painful, but healing. This is the main power of the feminine, and the power of art. It is femininity - in its definition as independent, co-dependent, not subordinate to masculinity - that makes possible the separation of the sensual that Jacques Ranciere talks about, and the possibility of creating outside the intellectually and ethically obsolete patriarchal paradigm and rough linguistic frameworks.
In this context, each painting for me is a visual experiment, a way of exploring the horizontal relationships that can be constructed in the paradigm of the feminine. I take on the nominal role of author, but I refuse dogmatism, an aggressive statement. I strive to build a relationship between viewers and my work in which there are no hierarchical barriers. This is why I reject complex visual concepts, and work with images as elements of a universal language - so that we can understand and hear each other.
My work is based on my own emotional experience, tied to certain periods or moments in my life. Sometimes an artistic statement about an inner experience simply cannot help but be linked to a series of external events; but more often than not, my art is about working through my own thoughts and experiences. I do not aspire to create my own autobiography in this way, but to open myself to a dialogue for which my rejoinder can be an occasion, a material, or a point of orientation.
The possibility of sharing a sensual experience is significant for me not only in the aesthetic field, but also in the existential field, as a possibility of co-existence and shared conscious living. The explication of the self and self-actualization always require a lot of work. And I wonder: is there a point at which the relationship between people ceases to be a goal and becomes a given? Or will we have to fight for the right to be heard until the end of time?
In my practice, there is a persistent symbolic image - paper airplanes, in which the naive and childlike is combined with the purity of hope. They are our dreams. We launch them into the sky, release them, fold new ones. Their appearance in my work refers to multiple forms of wish-granting rituals. They embody the value of that fleeting moment when you sincerely believe in the fulfilment of a wish.
Time will dot the i's and cross the t's, but it is important to me to capture that fleeting moment of uncertainty. I capture momentary gestures and poses, dissolving the objects around me, combining their linear outlines with the volumes of the body. I emphasise the value of the moment in its sensory content. Our memory is not omnipotent, but the body remains a constant carrier and medium of life. It is a witness of the past and present, and the unchanging hope for the future.
2021 Exhibition "Tuesday 11.30" - Moscow, Krasny Okryabr
2021 Exhibition "Internal and External" - Moscow, ARTPLAY
2021 Exhibition "Unique Russia" - personal stand, Moscow, Gostiny Dvor
2021 Exhibition "SHE", CATACOMBA Gallery, Moscow
2020 Finalist of the "Startup as Art" competition from Moscow Production Center with the broadcast of work on the facade of the Digital Business Space, Moscow
2020 Exhibition-competition "Modern Avant-Garde", St. Petersburg
2020 Exhibition WATERCOLORium, KULTURINSTITUT WIEN, Wien
2021 SOTHEBY’S Institute of Art - Contemporary Art
Moscow | London
MEMBERSHIP IN UNIONS
Since 2019 - Member of the International Art Foundation
Since 2019 - Member of the International Federation of Watercolorists