ONLINE-CATALOG
painting, sculpture, photography, installation, video art
The art production project of julia Shlenskaya.
exhibition
ECHOES OF FAMILY RELATIONS 2024
ECHOES OF FAMILY RELATIONS 2024
24 authors. 24 works. 1 project. Serbia, Belgrade. Cultural Center «Dorcol». February 26th - 2nd March 2024.
ORGANIZERS
We would like to introduce you to the individuals who have made this exhibition possible.
- Julia ShlenskayaArt Producer and CuratorThe product owner
- Margo FabrayaCurator AssistantCurator assistant, Belgrade
- Anastasia SklyankinaOnline-catalog complier and creatorArt consultant, art historian, lecturer, Belgrade
- Daria LednovaDesigner of exhibitionCollage artist, Belgrade
PARTICIPANTS
The arts of these participants will be presented at the exhibition "Echoes of Family Relations 2024". Participants can be contacted via the contact link below.
- Albina MakeevaArtist, Photographer, Russia
- Aleksandra MarićContemporary artist, Belgrade
- Alexandr KuznetsovContemporary artist, Belgrade
- Ana MiladinovicContemporary artist, Belgrade
- Anastasiia PakoshContemporary artist, Belgrade
- Berta ShusterCeramic artist, Israel & Belgrade
- Daria LednovaContemporary artist, Belgrade
- Daria ProninaContemporary artist, Belgrade
- Dimitrije PopovicContemporary artist, Belgrade
- Ekaterina GedevanovaContemporary artist, Belgrade
- Ekaterina SieeduginaContemporary artist, Montenegro
- Ekaterina ShalamovaContemporary artist, Belgrade
- Jenny GorokhovaContemporary artist, Belgrade
- Julia ShlenskayaConceptual Artist, Belgrade
- Lidia BaranikPrintmaker artist, Belgrade
- Marina ZhukovaContemporary artist, Belgrade
- Nata IstominaContemporary artist, Belgrade
- Natalia KliuzhevaContemporary artist, Belgrade
- Nevena MilosavljevicContemporary artist, Belgrade
- Olga DyakinaContemporary artist, Russia
- Olga ZholobovaContemporary artist, Belgrade
- Renata KukryakovaContemporary artist, Dubai, UAE
- Tatiana PolevichyokContemporary artist, Russia
- Uliana KonstantinovaContemporary artist, Belgrade
Exhibition concept The cultural center KC Dorćol Gallery invites you to a unique exhibition titled "Echoes of Family Relations 2024". Here, you will immerse yourself in the world of human connections and relationships, discovering new facets of your inner world. As you explore this inner landscape, you will not only feel your emotions and experiences but also uncover the hidden corners of your own personality, fostering personal growth and self-development. This art project was created by Julia Shlenskaya, a contemporary artist and art producer, who has been organizing exhibitions for many years. Her art installations, including large-scale works, have gained recognition at exhibitions in Russia and Serbia. The exhibition features works by 24 artists from Serbia, Montenegro, Russia, Israel, and UAE. Each piece represents an image, symbol, or echo of someone's experiences, forming an integral part of the "collective portrait" that reveals numerous dimensions and aspects of family life and interpersonal relationships. Some of the works in the exhibition invite viewers to contemplate how historical events and political changes influence family relationships and personal identities. These artworks offer a profound analysis of the interconnections between the past and the present, prompting reflections on how our heritage shapes our lives and influences our behavior and perspectives on the world. Other works transport us into memories of home, childhood, and loved ones, creating a warm atmosphere of nostalgia and tranquility. They reproduce moments filled with familial warmth and carefreeness, allowing us to relive the joy and warmth that come from memories of our loved ones and cherished places. There are also works that offer a deep analysis of our inner world and our relationships with ourselves and others. They provoke internal dialogues and reflections, enabling us to better understand ourselves, our feelings, and emotions. These works serve as mirrors of our internal states, helping us find inner harmony and understanding. We invite you to join us on our journey into the world of family connections and discover new dimensions of the human soul. This is not just an "exhibition of conceptual art" — it is an opportunity to contemplate, rethink, and open up to new internal and external perspectives presented by our talented artists! Project Owner: Julia Shlenskaya Address: 12 Dorćol Street, Belgrade, Serbia. |
Art Review of the exhibition "Echoes of Family Relations 2024" at KC Dorćol Gallery
The "Echoes of Family Relations 2024" exhibition, presented at KC Dorćol Gallery, embodies a multifaceted project aimed at the emotional and intellectual analysis of internal connections between individuals and the socio-cultural environment.
Julia Shlenskaya, curator and art producer, not only showcases the works of other artists but also creates her own installations, one of which is presented at this exhibition. Julia's extensive experience in organizing art events and exhibition projects, both in Russia and abroad, plays a significant role in shaping the atmosphere of the exhibition. Additionally, her experience in cinema adds a special character to the exhibition.
Shlenskaya's directorial approach to creating installations can be seen in the dramaturgy of space, the play of light and shadow, and the construction of narrative lines between exhibits. This gives visitors a unique experience of interacting with the works and creates a special atmosphere filled with emotions and meaning.
The exhibition, dedicated to the year 2024, conceptually illuminates the multifaceted aspects of family relationships, interpreting them through the lens of artistic perception. Through the use of installations, conceptual works, and video art elements, it aims to stimulate reflections on the concepts of "home," "family," and prompts consideration of the significance of motherhood and interaction within the family community.
This project is an organic unity where the creative efforts of various artists come together to create a comprehensive image of family dynamics. The works of 24 talented artists from different nationalities reflect the contradictory facets of family life and interpersonal interaction, creating a whimsical mosaic of emotional responses to historical events, personal experiences, and intimate moments.
The visual language of the exposition expresses the depth of cultural context, symbolic images, and metaphors that lure the viewer into the depths of human psychology. Each piece represents an interactive structure that prompts internal dialogue and reflection in every guest.
The atmosphere of the "Echoes of Family Relations 2024" exhibition can truly astonish you. It gathers art that not only visually impresses but also calls for deep reflections on life and love. Here, each work is a revelation, a reflection of our own feelings and thoughts about the world around us. It is not just an event but a journey within oneself, a source of inspiration and soul elevation. Leaving here, you will take with you not only beauty but also the richness of new emotions ready to blossom in your hearts. Interacting with each piece of art enlivens you, making you experience, feel, and see the world in a new light.
Through this project, Julia Shlenskaya creates a space for inspiration and self-analysis, making the exhibition a global catalyst for reflections on our place in the universe and our relationships with the world.
Date: 26th of February, 2024
Author of review: art historian, art consultant, art market analyst, contemporary culture, and art expert Anastasia Skliankina
Julia Shlenskaya, curator and art producer, not only showcases the works of other artists but also creates her own installations, one of which is presented at this exhibition. Julia's extensive experience in organizing art events and exhibition projects, both in Russia and abroad, plays a significant role in shaping the atmosphere of the exhibition. Additionally, her experience in cinema adds a special character to the exhibition.
Shlenskaya's directorial approach to creating installations can be seen in the dramaturgy of space, the play of light and shadow, and the construction of narrative lines between exhibits. This gives visitors a unique experience of interacting with the works and creates a special atmosphere filled with emotions and meaning.
The exhibition, dedicated to the year 2024, conceptually illuminates the multifaceted aspects of family relationships, interpreting them through the lens of artistic perception. Through the use of installations, conceptual works, and video art elements, it aims to stimulate reflections on the concepts of "home," "family," and prompts consideration of the significance of motherhood and interaction within the family community.
This project is an organic unity where the creative efforts of various artists come together to create a comprehensive image of family dynamics. The works of 24 talented artists from different nationalities reflect the contradictory facets of family life and interpersonal interaction, creating a whimsical mosaic of emotional responses to historical events, personal experiences, and intimate moments.
The visual language of the exposition expresses the depth of cultural context, symbolic images, and metaphors that lure the viewer into the depths of human psychology. Each piece represents an interactive structure that prompts internal dialogue and reflection in every guest.
The atmosphere of the "Echoes of Family Relations 2024" exhibition can truly astonish you. It gathers art that not only visually impresses but also calls for deep reflections on life and love. Here, each work is a revelation, a reflection of our own feelings and thoughts about the world around us. It is not just an event but a journey within oneself, a source of inspiration and soul elevation. Leaving here, you will take with you not only beauty but also the richness of new emotions ready to blossom in your hearts. Interacting with each piece of art enlivens you, making you experience, feel, and see the world in a new light.
Through this project, Julia Shlenskaya creates a space for inspiration and self-analysis, making the exhibition a global catalyst for reflections on our place in the universe and our relationships with the world.
Date: 26th of February, 2024
Author of review: art historian, art consultant, art market analyst, contemporary culture, and art expert Anastasia Skliankina
Ekaterina Sieedugina (Kordeliz). "Moment of Tranquility". 2023.
Linen canvas on stretcher, oil. 80 x 100 cm.
Linen canvas on stretcher, oil. 80 x 100 cm.
"A painting from the surrealist series 'Cognition,' reflecting my metaphorical perception of the world through simple and universally understood objects that surround us. The artwork was created when my husband, child, and I relocated to another country. At that time, I sought peace and silence both within myself and externally, navigating a lengthy period of adaptation to a new space, mentality, and sensations. Hence, the painting captures the emotional buoyancy of basic daily life, gradually finding the long-awaited tranquility as I restored routine.
But what is daily life? It's the elementary routines that constitute our existence. Emotional anchors reside in these actions, maintaining our psychological balance. For instance, hanging laundry to dry is finding a safe space for living. On the clothesline, there are men's shorts, a skirt, yellow children's clothes, and white towels—a symbol of a complete family and the purity of relationships. The ability to wash and hang laundry implies confidence that the family will stay in that place for some time, capturing a moment of tranquility that provides hope for everything to be fine.
Water in the painting symbolizes life's unpredictability, alternating between calm and enveloping, and turbulent and sweeping away. In this life, it's crucial to find moments of tranquility and stability, even if it's just hanging clean laundry. About migration, hope, tranquility, family, home, supporting each other, and safety". — Katerina Sieedugina
But what is daily life? It's the elementary routines that constitute our existence. Emotional anchors reside in these actions, maintaining our psychological balance. For instance, hanging laundry to dry is finding a safe space for living. On the clothesline, there are men's shorts, a skirt, yellow children's clothes, and white towels—a symbol of a complete family and the purity of relationships. The ability to wash and hang laundry implies confidence that the family will stay in that place for some time, capturing a moment of tranquility that provides hope for everything to be fine.
Water in the painting symbolizes life's unpredictability, alternating between calm and enveloping, and turbulent and sweeping away. In this life, it's crucial to find moments of tranquility and stability, even if it's just hanging clean laundry. About migration, hope, tranquility, family, home, supporting each other, and safety". — Katerina Sieedugina
Contemporary artist. Nickname - Kordeliz. Born in 1986 in Penza. Graduated from Penza State University in 2008 and the Financial University under the Government of the Russian Federation in 2012. Engaged in painting throughout life, regularly attending courses on modern and academic painting. Actively participates in international exhibitions in Turkey and Russia. Paintings are held in private collections in Germany, Kyrgyzstan, and Russia. Currently resides and works in Budva, Montenegro.
ARTIST STATEMENT
I believe every person is unique, with limitless mental and physical capabilities; one just needs to shed societal opinions and imposed conventions, slow down, and listen to oneself. Through art, I aim to unleash my potential as a human, as an individual, as a living being. I invite the viewer to delve into their own depths and, through allegories and my metaphorical perception of life, hear their own emotions on a more intimate level.
To achieve my goals, I utilize color, abstract forms, and the metaphorical significance of surrounding objects. Currently, I am working on two series of original paintings: color abstractions and surrealistic narratives. As an artist, I am captivated by the infinite possibilities of color. I believe our perception of color is a profound and subjective experience shaped by our individual histories and emotions. Through abstract works, I seek to provoke reflections, encouraging viewers to question their understanding of color and reveal their sensitivity to it.
In surrealist narratives, I employ the allegorical potential of textures and objects, serving as visual metaphors for human states, to engage the viewer in contemplations about themselves and life, and their associations with simple objects that surround us.
I believe every person is unique, with limitless mental and physical capabilities; one just needs to shed societal opinions and imposed conventions, slow down, and listen to oneself. Through art, I aim to unleash my potential as a human, as an individual, as a living being. I invite the viewer to delve into their own depths and, through allegories and my metaphorical perception of life, hear their own emotions on a more intimate level.
To achieve my goals, I utilize color, abstract forms, and the metaphorical significance of surrounding objects. Currently, I am working on two series of original paintings: color abstractions and surrealistic narratives. As an artist, I am captivated by the infinite possibilities of color. I believe our perception of color is a profound and subjective experience shaped by our individual histories and emotions. Through abstract works, I seek to provoke reflections, encouraging viewers to question their understanding of color and reveal their sensitivity to it.
In surrealist narratives, I employ the allegorical potential of textures and objects, serving as visual metaphors for human states, to engage the viewer in contemplations about themselves and life, and their associations with simple objects that surround us.
Ekaterina Sieedugina
Contemporary artist
Ana Miladinovic. "Distance Mountain". 2022–2023.
Canvas, collage, acrylic. 150 х 100 cm.
Canvas, collage, acrylic. 150 х 100 cm.
"This piece, measuring 150 x 100 cm, is a canvas work that combines collage and acrylic paints. It features a gel transfer of three black and white studio images: creatively assembled "mountains" from used face masks, and the hands of my husband and me reaching out to each other, symbolizing the struggle for connection in the pandemic's wake. The backdrop, painted in acrylic, showcases a starry night sky at dusk, with a gradient of blue hues.
This artwork reflects on the unintended consequences of the coronavirus pandemic on both civilization and nature from an ecological standpoint. It portrays the physical and emotional distances imposed by social distancing measures, with the mask "mountain" representing the overwhelming uncertainties faced by individuals and communities.
The night sky, dotted with stars, is meant to place these pandemic-era challenges in a broader temporal context, reminding us of the transient nature of what seems eternal. The piece invites reflection on the lasting impact of the pandemic on our lives and the environment, questioning the recovery time needed for both society and nature". — Ana Miladinovic.
This artwork reflects on the unintended consequences of the coronavirus pandemic on both civilization and nature from an ecological standpoint. It portrays the physical and emotional distances imposed by social distancing measures, with the mask "mountain" representing the overwhelming uncertainties faced by individuals and communities.
The night sky, dotted with stars, is meant to place these pandemic-era challenges in a broader temporal context, reminding us of the transient nature of what seems eternal. The piece invites reflection on the lasting impact of the pandemic on our lives and the environment, questioning the recovery time needed for both society and nature". — Ana Miladinovic.
Visual artist, photographer. She is born in 1985 in Belgrade. Ana began her formal art education at the School of Design in Belgrade, continued at the Cambridge Arts and Sciences College (United Kingdom), and graduated in photography with honours in 2009 at Anglia Ruskin University in Cambridge, UK. Ana's work has been exhibited in solo and group exhibitions across Serbia and the world, including Italy, Poland, the United Kingdom, and Canada. Throughout her career, she has won several awards and recognitions for her unique approach to art. She has been a member of the Serbian Fine Artists Association (ULUS) since 2013 and is currently a member of the board of the extended media section. In 2023, the Association of Fine Artists of Serbia awarded her the status of an independent artist. In addition to her visual creation, Ana Miladinović is also an assistant at the Department of Photography and Camera at the Academy of Arts and a photography teacher at the School of Design in Belgrade.
ARTIST STATEMENT
Anna's creative work encompasses a wide range of combined techniques and materials, including painting, collage, photography (analogue, digital, and alternative), and video art. In her compositions, Ana explores themes of identity, memory, and personal experience, using strong colours, layered textures, and abstract shapes that evoke a sense of movement and emotion. At her latest solo exhibition «Emotional Landscapes,» Ana presented works that deeply engage in exploring inner landscapes and emotional states through visual language. Through a series of intense collages created using combined techniques of acrylics and gel medium transfers, she relies on motifs of subconscious narratives, transforming them into complex visual expressions that invite reflection and interaction.
Anna's creative work encompasses a wide range of combined techniques and materials, including painting, collage, photography (analogue, digital, and alternative), and video art. In her compositions, Ana explores themes of identity, memory, and personal experience, using strong colours, layered textures, and abstract shapes that evoke a sense of movement and emotion. At her latest solo exhibition «Emotional Landscapes,» Ana presented works that deeply engage in exploring inner landscapes and emotional states through visual language. Through a series of intense collages created using combined techniques of acrylics and gel medium transfers, she relies on motifs of subconscious narratives, transforming them into complex visual expressions that invite reflection and interaction.
Ана Миладинович
Photographer, contemporary artist
Marina Zhukova. Video art "MA.RI.NA - MA.RI.NA ". 2018.
Analog and digital video recording. Author's montage. Duration: 3 minutes 31 seconds.
Analog and digital video recording. Author's montage. Duration: 3 minutes 31 seconds.
"Inside and out, it was very uneasy - it became vital for me to remember myself anew. Childhood - the beginning. Footage recorded on video cassettes comes to the forefront. It's my dad's doing; he often filmed. So, my memory acquired: a script, characters, editing techniques. And that's why childhood will always be too real - the fixed gazes and gestures of a person resembling me are unshakable.
An attempt to merge two periods of life - childhood and adult present - to restore integrity, is doomed to failure: they are like two magnets that repel each other, without touching. An invisible mechanism of alienation is triggered when one Marina looks at another. I remain alone with the most impossible question in the world: 'who is speaking now?'
The name, brought into the title as a date of birth and death, could be engraved on the tombstone of lost identity, for which there is and cannot be fixed memory" — Marina Zhukova
An attempt to merge two periods of life - childhood and adult present - to restore integrity, is doomed to failure: they are like two magnets that repel each other, without touching. An invisible mechanism of alienation is triggered when one Marina looks at another. I remain alone with the most impossible question in the world: 'who is speaking now?'
The name, brought into the title as a date of birth and death, could be engraved on the tombstone of lost identity, for which there is and cannot be fixed memory" — Marina Zhukova
Media artist, musician. Born in 1996. Studied photojournalism at Moscow State University. In 2017-2019, she underwent training at the "Dokdokdok" school. Works have been presented at collective exhibitions in St. Petersburg, the video "MA.RI.NA-MA.RI.NA" was awarded first place in the "Video Art" category at the international student film festival Smolshots (St. Petersburg). A student of the St. Petersburg School of New Cinema (Artur Aristakisyan's workshop, 2021-2023), a student of the School of Mutations (2020-2021) and the School of Engaged Art "What to Do" (2021-2022), a student of Dmitry Vrubel's VR workshop (2021-2022), participant of the artistic commune in the village of Siversky (summer 2022). Participant of foreign and Russian exhibitions. Lives and works in emigration.
ARTIST STATEMENT
I was born in the small town of Pokrov. And saw snow. At the age of three, I started playing the piano. And then - writing poetry. I pronounced words in a language that many things I learned to hate were taught. Sometimes I want to be tongue-tied.
I dreamed of being an actress, earned money with Eastern dances, and in hard times wrote poems about images that sewed my memory together with pain. I couldn't help but engage in art. And still can't.
It seemed to me that I would never be able to explain to others what I see. For example, a red chair that the Gypsy put by the entrance - you sit on it when silence appears, an invisible fermata. Or a statue that you photograph for years in anticipation that it will get pregnant. And you know it should. That's why I like to tell stories through films. Many of them have remained unshot and live in my head. I like that through them I can introduce reality into hypnosis. I like working with archives, tangible wonders, and people. I am fascinated by endless repetition.
I don't know anything about the truth and whether it lives in art. But I know that in everything that surrounds us, there is some strange, funny, and impossible struggle, and I want to talk about it.
Marina Zhukova
Media artist, musician.
Natalia Klyuzheva. Video art "I Will Call You Sunshine". 2023.
Stool, charged headphones, phone with video. 30 x 40 x 45 cm.
Stool, charged headphones, phone with video. 30 x 40 x 45 cm.
"One of my favorite childhood memories is our family gatherings. Especially, my grandparents' birthdays. On в that day, we would gather around a big table, have dinner, and suddenly someone from the relatives would start singing. Others would join in. I remember the choir of voices in Ukrainian, Belarusian, and Russian.
It is important for me to feel connected to my roots, and 4 years ago I began studying shamanic and esoteric traditions of communicating with ancestors. In Slavic culture, there is a tradition called 'Feeding the Spirits of the Ancestors.' On certain days of the year, you can ritually prepare food and set the table for those who have passed away, inviting them to a feast, feeling gratitude for everything they have done for you.
Through this audio and video installation, I invite participants to become part of the ritual, immerse themselves in memories of their childhood, and even deeper—into the unconscious, envision their departed loved ones, feel their presence, and perform soul work to preserve memories of family, expressing gratitude for being alive today" — Natalia Klyuzheva.
It is important for me to feel connected to my roots, and 4 years ago I began studying shamanic and esoteric traditions of communicating with ancestors. In Slavic culture, there is a tradition called 'Feeding the Spirits of the Ancestors.' On certain days of the year, you can ritually prepare food and set the table for those who have passed away, inviting them to a feast, feeling gratitude for everything they have done for you.
Through this audio and video installation, I invite participants to become part of the ritual, immerse themselves in memories of their childhood, and even deeper—into the unconscious, envision their departed loved ones, feel their presence, and perform soul work to preserve memories of family, expressing gratitude for being alive today" — Natalia Klyuzheva.
Actress, performer, independent artist. Born on May 3, 1990, in Nazarovo, Krasnoyarsk Krai, Russia. Studied at the Saint Petersburg State University of Film and Television, as well as at the International Academy named after Michael Chekhov. She explores not only the acting aspects of her artistic personality but also strives to work with her inner "self" as an independent artist during immigration. Since May 2023, she has been living in Belgrade, Serbia.
Lidiya Baranik. Diptrich "Our Home". Graphic series. 2024.
Paper, xerolithography, linocut, typography ink. 70 x 50 cm, 70 x 50 cm
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Paper, xerolithography, linocut, typography ink. 70 x 50 cm, 70 x 50 cm
.
"It seems that in recent years the world has been testing us and our families for strength: sometimes locking us together for months in cramped apartments, sometimes dividing us, even tearing us apart - with distance (physical) and chasm (spiritual, in perspectives, in values).
Family values grow from those personal values in which we find similarities. And this is far from always being a 100% match. But perhaps 2-3 basic ones are enough to create a foundation for relationships. Freedom or security? Freedom AND security? And is Family itself a value? And if we 'leave behind' our parental families and choose ourselves (a partner, husband, wife, child, children...) to emigrate, then is Family a value only partly? Is Home a value? Can you take 'home' with you...?
The series of works 'Our Home' is about bidding farewell to home. A typical nine-story building on the outskirts of St. Petersburg, monstrously similar to the destroyed nine-story buildings of Mariupol. The home for my small family for the past 8.5 years. We bid farewell to Home. We take Home with us. Home is where we are.
Life offers us difficult choices. By making them, we test the strength of our relationships with loved ones. Some become stronger, while others leave only echoes..." — Lidiya Baranik
Family values grow from those personal values in which we find similarities. And this is far from always being a 100% match. But perhaps 2-3 basic ones are enough to create a foundation for relationships. Freedom or security? Freedom AND security? And is Family itself a value? And if we 'leave behind' our parental families and choose ourselves (a partner, husband, wife, child, children...) to emigrate, then is Family a value only partly? Is Home a value? Can you take 'home' with you...?
The series of works 'Our Home' is about bidding farewell to home. A typical nine-story building on the outskirts of St. Petersburg, monstrously similar to the destroyed nine-story buildings of Mariupol. The home for my small family for the past 8.5 years. We bid farewell to Home. We take Home with us. Home is where we are.
Life offers us difficult choices. By making them, we test the strength of our relationships with loved ones. Some become stronger, while others leave only echoes..." — Lidiya Baranik
The artist is a print graphic artist. A member of the Union of Artists, Graphics Section. She is one of the artists of the Print-Commune association of print graphic artists. Born in 1983, in the city of St. Petersburg. She graduated from the Russian State Academic Institute of Painting, Sculpture, and Architecture named after Repin. She received a red diploma from the Architecture Faculty, specializing in architect-artist.
Since 2007, she has worked as an architect in the architectural workshop "Vitruvius and Sons". Since 2013, she has worked as a creative educator in inclusive centers for adults with special mentalities: "Malecky's House", "Anton is nearby", "Pablo's Children" and continues to work in this field to this day.
Since 2018, she has been involved in print graphics and developing as a contemporary artist. She works in techniques such as linocut, plastic engraving, silk-screen printing, monotype, and various types of experimental printing.
Actively exhibits (collective and solo exhibitions), participates in competitions, has experience in participating in contemporary art fairs. The artist's graphics are sold in various galleries in Moscow and St. Petersburg. Her works are in private collections in Europe, America, Canada, Israel, Georgia, Kazakhstan, and, of course, many other cities in Russia.
Since 2007, she has worked as an architect in the architectural workshop "Vitruvius and Sons". Since 2013, she has worked as a creative educator in inclusive centers for adults with special mentalities: "Malecky's House", "Anton is nearby", "Pablo's Children" and continues to work in this field to this day.
Since 2018, she has been involved in print graphics and developing as a contemporary artist. She works in techniques such as linocut, plastic engraving, silk-screen printing, monotype, and various types of experimental printing.
Actively exhibits (collective and solo exhibitions), participates in competitions, has experience in participating in contemporary art fairs. The artist's graphics are sold in various galleries in Moscow and St. Petersburg. Her works are in private collections in Europe, America, Canada, Israel, Georgia, Kazakhstan, and, of course, many other cities in Russia.
ARTIST STATEMENT
My art is a way to express my emotions and experiences and live them out on paper. My art began with psychotherapy and I believe that art has a therapeutic effect for both the author and the viewer. My works are a portal to everyone's personal history, a mirror in which the viewer recognizes himself, gets acquainted with his shadows. The main theme of my works is a human being and his emotional states, often those that are not accepted in society: anxiety, anger, despair.
Through my art I talk about complex feelings ("Portraits of Strangers"), about the ability of a person to experience several emotions at the same time ("Splitting"), about the pressure of society and external circumstances on us ("External Impact"), about the role in society and relationships in it, about the consequences of wars and pandemics, the inner strength and self-perception of women, reflections on the theme of corporeality ("In Reflections", "Girl Power", "Red Series", etc.).
I work in the techniques of printed graphics such as linocut, monotype, silkscreen, engraving on plastic, polyurethane foam (PU foam or as it's called in Russia "porolon") and even on Tetra-Pak packaging. For myself in my creative work I have adopted a few rules: from idea to realization should pass a minimum of time, I work very quickly, without a sketch, drawing immediately on the material in size; I allow myself to draw "wrong", to violate the anatomy and the laws of composition, to use pure colors - everything that is not taught in the Academy of Arts; I always bring the work to the end!
I am particularly attracted to the magic of creating prints: mirroring composition, unexpected blind spots and special effects that make the work alive. Not everything depends on the author, and there is a space for a miracle.
My art is a way to express my emotions and experiences and live them out on paper. My art began with psychotherapy and I believe that art has a therapeutic effect for both the author and the viewer. My works are a portal to everyone's personal history, a mirror in which the viewer recognizes himself, gets acquainted with his shadows. The main theme of my works is a human being and his emotional states, often those that are not accepted in society: anxiety, anger, despair.
Through my art I talk about complex feelings ("Portraits of Strangers"), about the ability of a person to experience several emotions at the same time ("Splitting"), about the pressure of society and external circumstances on us ("External Impact"), about the role in society and relationships in it, about the consequences of wars and pandemics, the inner strength and self-perception of women, reflections on the theme of corporeality ("In Reflections", "Girl Power", "Red Series", etc.).
I work in the techniques of printed graphics such as linocut, monotype, silkscreen, engraving on plastic, polyurethane foam (PU foam or as it's called in Russia "porolon") and even on Tetra-Pak packaging. For myself in my creative work I have adopted a few rules: from idea to realization should pass a minimum of time, I work very quickly, without a sketch, drawing immediately on the material in size; I allow myself to draw "wrong", to violate the anatomy and the laws of composition, to use pure colors - everything that is not taught in the Academy of Arts; I always bring the work to the end!
I am particularly attracted to the magic of creating prints: mirroring composition, unexpected blind spots and special effects that make the work alive. Not everything depends on the author, and there is a space for a miracle.
Lidiya Baranik
The artist is a print graphic artist
Renata Kukriakova. Installation of ceramic objects titled "Human design". 2024.
Black clay, glaze, hand sculpting.
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Black clay, glaze, hand sculpting.
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"All humans are made from the same 'dough,' bones, blood, muscles... Within each of us, there are particles of our ancestors. Genetically, we are dependent on our parents, and they, in turn, on theirs. Influenced by the environment, we acquire additional qualities.
Society, friends, acquaintances, and surroundings affect us. But a person can create their own new design. Unveil their strengths, energy, and magic.
My work is dedicated to the quest for oneself, one's identity, purpose, and destiny, despite the 'Echo of family relationships' and the imposed stereotypes, thoughts, and concepts from family and environment.
Each viewer can take a ceramic ball and place it in the form of the artifact they associate themselves with, thus taking a certain first shamanic step towards identification and self-discovery". — Renata Kukriakova.
Artist, designer. Born in 1986, in a closed military garrison in the Kamchatka Krai. In 2008, graduated from the Far Eastern State University with a degree in strategic management. Then, in 2020, completed a bachelor's degree at the British Higher School of Design specializing in "Contemporary Art". An active participant in group exhibitions at venues such as CSI Vinzavod, Cube Gallery, and Zaryadye Park Media Center. Since 2022, she has been living and working in Dubai. A staff member of the Zawyeh gallery of contemporary art. Every year participates in the Art Dubai contemporary art fair as part of the Education program.
ARTIST STATEMENT
My place of birth - a secret military garrison for submarines in the USSR - influenced my practice. My works are a dedication to a place nobody knew about and which no longer exists. A constant attempt to find oneself and one's purpose.
To create my objects and installations, I use fabric, plaster, ceramics, wood, and metal. Drawing from both archives and fiction, I model a new reality.
By integrating, restoring, and expanding images and objects from the past, I try to reveal the importance of memory.
My place of birth - a secret military garrison for submarines in the USSR - influenced my practice. My works are a dedication to a place nobody knew about and which no longer exists. A constant attempt to find oneself and one's purpose.
To create my objects and installations, I use fabric, plaster, ceramics, wood, and metal. Drawing from both archives and fiction, I model a new reality.
By integrating, restoring, and expanding images and objects from the past, I try to reveal the importance of memory.
Renata Kukriakova.
Contemporary artist
Berta Shuster. Installation "Strength of the roots". 2024.
Ceramics, relief, texture, high firing, unglazed, dried flowers. 30 x 20 x 20 cm.
Ceramics, relief, texture, high firing, unglazed, dried flowers. 30 x 20 x 20 cm.
"Family is the cornerstone of personality, laid in childhood and remaining unchanged throughout our lives. It is the foundation that was instilled in us during upbringing.
My project embodies the power of family ties, inspired by personal experiences and inner development. I see family bonds as an unshakable rock, steadfast against life's adversities yet capable of blossoming with new opportunities. Contemporary challenges such as political tensions in Russia or war in Israel underscore the necessity of family cohesion and mutual support.
My work employs the metaphor of a vessel, symbolizing the values of life. The holes and cracks reflect the difficulties from which new opportunities arise, while the flowers represent strength and the struggle for happiness". — Berta Shuster.
My project embodies the power of family ties, inspired by personal experiences and inner development. I see family bonds as an unshakable rock, steadfast against life's adversities yet capable of blossoming with new opportunities. Contemporary challenges such as political tensions in Russia or war in Israel underscore the necessity of family cohesion and mutual support.
My work employs the metaphor of a vessel, symbolizing the values of life. The holes and cracks reflect the difficulties from which new opportunities arise, while the flowers represent strength and the struggle for happiness". — Berta Shuster.
Russian-Israeli ceramic artist. Co-founder of a ceramic studio in Belgrade. She was born in 1993 in Perm, Russia, and moved to Israel in 2015. Currently she lives in Belgrade, Serbia.
Berta started doing ceramics at age 26. Before that she studied social work, and worked with children on the autistic spectrum, as well as children from troubled families. In 2019 Berta enrolled in professional ceramics studies at Benyamini Contemporary Ceramics Center in Tel Aviv. In 2022 Berta graduated from Beit Benyaminy and took part in a graduation exhibition. Since 2020 Berta has been actively teaching hand modeling and pottery in Tel Aviv ceramic studios for adults and children.
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Berta started doing ceramics at age 26. Before that she studied social work, and worked with children on the autistic spectrum, as well as children from troubled families. In 2019 Berta enrolled in professional ceramics studies at Benyamini Contemporary Ceramics Center in Tel Aviv. In 2022 Berta graduated from Beit Benyaminy and took part in a graduation exhibition. Since 2020 Berta has been actively teaching hand modeling and pottery in Tel Aviv ceramic studios for adults and children.
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ARTIST STATEMENT
I grew up as a very sensitive and anxious child, who often felt the ground disappear from under my feet. Today I understand that when I was little, I lacked internal stability and self-confidence.
Over the years, I learned to build this strength within myself, which naturally began to transfer into my creativity. My goal is to share the feeling of stability and tranquility that lies in nature, namely in the nature of stones and rocks. They feel the power of time and peace.
Clay has become my language and a tool of self-expression, with the help of which I can convey my values to the viewer. An important element in my works is the texture of the rocks, which the viewer can touch and feel the nature of the work.
I would like the viewer to experience a warm sense of calm when seeing my work, so that the purpose of my art will be achie
ved.
I grew up as a very sensitive and anxious child, who often felt the ground disappear from under my feet. Today I understand that when I was little, I lacked internal stability and self-confidence.
Over the years, I learned to build this strength within myself, which naturally began to transfer into my creativity. My goal is to share the feeling of stability and tranquility that lies in nature, namely in the nature of stones and rocks. They feel the power of time and peace.
Clay has become my language and a tool of self-expression, with the help of which I can convey my values to the viewer. An important element in my works is the texture of the rocks, which the viewer can touch and feel the nature of the work.
I would like the viewer to experience a warm sense of calm when seeing my work, so that the purpose of my art will be achie
ved.
Berta Shuster
Ceramic artist
Albina Makeeva. Installation "Glad to be Your Disappointment". 2023.
Old Soviet paper, tracing paper, inkjet print. 7.6 x 10.5 cm (folded); 28.5 x 39.5 cm.
Old Soviet paper, tracing paper, inkjet print. 7.6 x 10.5 cm (folded); 28.5 x 39.5 cm.
Instructions for use: The work can and should be interacted with, but handle with care.
"A self-made zine created with old Soviet paper, featuring pictures printed on tracing paper using a home inkjet printer. It was made after a quarrel that forced me to reconsider myself as a person.
This work is a story about how you wished I would become someone else. I couldn't meet your expectations, and it seems you had to come to terms with that. I created this zine and included everything that disappoints you. I'm sorry I didn't become what you wanted me to be. But I am infinitely happy being myself". — Albina Makeeva.
"A self-made zine created with old Soviet paper, featuring pictures printed on tracing paper using a home inkjet printer. It was made after a quarrel that forced me to reconsider myself as a person.
This work is a story about how you wished I would become someone else. I couldn't meet your expectations, and it seems you had to come to terms with that. I created this zine and included everything that disappoints you. I'm sorry I didn't become what you wanted me to be. But I am infinitely happy being myself". — Albina Makeeva.
Photographer, artist. Born in 2004 in Moscow. From 2020 to 2024, she has been studying at one of the Moscow colleges in the photography department. Attended the Winter Online Program at the New York Institute of Linguistic, Cognitive, and Cultural Studies in January 2024. Interned at Pennlab Gallery, volunteered at the "blazar" contemporary art fair, and participated in the "Worldskills" and "Abilympics" championships. She took part in the art residency "So Bytie" in July 2023, where she conducted master classes. Since 2022 and to this day, she has been an active participant in group exhibitions: her works were presented at the "PhotoN" exhibition in Kaliningrad, "Korzina" in Sergiev Posad, "Zherdyola" in Rostov-on-Don. Currently resides and works in Moscow.
ARTIST STATEMENT
I am a visual artist, primarily working with the medium of photography. My focus lies in exploring alternative printing processes, homemade zines, and photobooks, delving into the tactile and variable nature they offer. My work is rooted in the investigation of the physical nature of photography and the unpredictable results of printing, exploring themes of unrevealed details of reality, self-identification, and the sublimation of personal feelings and thoughts. I also aim to unveil some mysteries of the real world, presenting incomplete narratives, and seeking to inspire viewers to question their own perceptions.
I am a visual artist, primarily working with the medium of photography. My focus lies in exploring alternative printing processes, homemade zines, and photobooks, delving into the tactile and variable nature they offer. My work is rooted in the investigation of the physical nature of photography and the unpredictable results of printing, exploring themes of unrevealed details of reality, self-identification, and the sublimation of personal feelings and thoughts. I also aim to unveil some mysteries of the real world, presenting incomplete narratives, and seeking to inspire viewers to question their own perceptions.
Albina Makeeva
Photographer, artist
Julia Shlenskaya. Installation "Identification". 2024.
"When emotionally wounded, our first desire is to heal these wounds, much like wounds on the body heal and are covered with skin. The same goes for the psyche: if we are wounded, a person becomes emotionally drained, their energy goes into that wound.
I am an artist and a professional psychotherapist. I am the creator of that very "skin" that encourages the client to form this protective "skin" in the process of psychotherapy, jointly creating a protective barrier from breaches of integrity and closing the places where metaphorically the client lacked skin, where there was vulnerability or a wound.
This metaphorical "skin" is necessary for a sense of integrity, self-identification, and understanding of personal values. Without it, merging with the surrounding world is possible, losing oneself, and even losing the meaning of life.
Metaphorically, a child is born without protective "skin", devoid of stability to the influence of the external world. Some fail to grow this "skin" during adulthood, sometimes due to parental intervention. Some parents, because of their own emotional wounds, may hinder the child from closing their emotional wounds and replenishing them with protective "skin".
Such situations can lead to crises in adult life, prompting us to strengthen this "skin" independently". — Julia Shlenskaya.
I am an artist and a professional psychotherapist. I am the creator of that very "skin" that encourages the client to form this protective "skin" in the process of psychotherapy, jointly creating a protective barrier from breaches of integrity and closing the places where metaphorically the client lacked skin, where there was vulnerability or a wound.
This metaphorical "skin" is necessary for a sense of integrity, self-identification, and understanding of personal values. Without it, merging with the surrounding world is possible, losing oneself, and even losing the meaning of life.
Metaphorically, a child is born without protective "skin", devoid of stability to the influence of the external world. Some fail to grow this "skin" during adulthood, sometimes due to parental intervention. Some parents, because of their own emotional wounds, may hinder the child from closing their emotional wounds and replenishing them with protective "skin".
Such situations can lead to crises in adult life, prompting us to strengthen this "skin" independently". — Julia Shlenskaya.
Art producer, conceptual artist, and filmmaker. Born in 1993 in Moscow. Received two higher educations at the Higher School of Economics, specializing in mathematics and psychotherapy. In 2019, attended acting classes at Benefis. In 2020-2021, studied film directing at MSNC under Dmitriy Mamuliya, and in 2020-2022, studied film editing at the same institution, under Sergey Ivanov.
Then, in 2022, studied trends, partnerships, and strategies in art and culture at the British Higher School of Design. In 2021-2022, received additional education in contemporary art at the British Higher School of Design. In 2023-2024, improved qualifications at HSE in product development and portfolio management. Multiple participant and winner of international film festivals in Europe and the USA. Since 2021, an active participant in group exhibitions in Russia and abroad.
Exhibited in iconic Moscow galleries at Winzavod, Artplay, and Cuba. Works worldwide and resides in Belgrade.
Then, in 2022, studied trends, partnerships, and strategies in art and culture at the British Higher School of Design. In 2021-2022, received additional education in contemporary art at the British Higher School of Design. In 2023-2024, improved qualifications at HSE in product development and portfolio management. Multiple participant and winner of international film festivals in Europe and the USA. Since 2021, an active participant in group exhibitions in Russia and abroad.
Exhibited in iconic Moscow galleries at Winzavod, Artplay, and Cuba. Works worldwide and resides in Belgrade.
ARTIST STATEMENT
I am a conceptual artist in contemporary art and a filmmaker dedicated to studying the psychology of human relations. My knowledge in contemporary art was shaped at the British Higher School of Design under the guidance of Mikhail Levin. I often draw inspiration from everyday life, giving it a surrealistic tint. My diverse intellectual background in contemporary art, mathematics, and psychology contributes to shaping a unique style in conceptual and contemporary art.
Studying directing and editing under the guidance of Sergey Ivanov, a collaborator of Alexander Sokurov, at the Moscow School of New Cinema noticeably enriched my artistic journey. This experience added depth to my exploration of the human psyche and storytelling in the realm of conceptual art and filmmaking.
My video art and artistic installations, including large-scale works, are recognized at exhibitions in Russia and Serbia. Moreover, my original conceptual films, inspired by my cinematic education, are showcased at festivals worldwide, highlighting their uniqueness and impact.
Working with various mediums, including author cinema, video art, and installations, I strive to expand the boundaries of expression in art.
I am a conceptual artist in contemporary art and a filmmaker dedicated to studying the psychology of human relations. My knowledge in contemporary art was shaped at the British Higher School of Design under the guidance of Mikhail Levin. I often draw inspiration from everyday life, giving it a surrealistic tint. My diverse intellectual background in contemporary art, mathematics, and psychology contributes to shaping a unique style in conceptual and contemporary art.
Studying directing and editing under the guidance of Sergey Ivanov, a collaborator of Alexander Sokurov, at the Moscow School of New Cinema noticeably enriched my artistic journey. This experience added depth to my exploration of the human psyche and storytelling in the realm of conceptual art and filmmaking.
My video art and artistic installations, including large-scale works, are recognized at exhibitions in Russia and Serbia. Moreover, my original conceptual films, inspired by my cinematic education, are showcased at festivals worldwide, highlighting their uniqueness and impact.
Working with various mediums, including author cinema, video art, and installations, I strive to expand the boundaries of expression in art.
Julia Shlenskaya
Art produser, conceptual artist
Ekaterina Shalamova. "Death of a Diplomat". 2023.
OSB panel, flannel sheet, military pilot cap, threads, black ribbon, black frame; 45.5 x 28 x 2 cm.
OSB panel, flannel sheet, military pilot cap, threads, black ribbon, black frame; 45.5 x 28 x 2 cm.
"We are often told how important it is to know our ancestors, to honor their memory, to remember who we are and where we come from. This is indeed important. But in our quest to understand and draw lessons from the past, we often cross the line of proper reverence for our ancestors and reflection on our collective experience, and we move towards distorting historical reality, catering to our common complexes.
This is well illustrated by the recent militarization of holidays in children's institutions. We shield children from negative experiences, so we only tell them about the triumph of the victor, about how important it is to win at any cost.
In this way, we teach our children to resolve conflicts by force, not by negotiation. In school, this influence on children gains strength. And all this upbringing is justified by patriotism and pride in our ancestors. It turns out that from childhood we teach children to fight, not to negotiate; to prove their point by force, not by negotiation and arguments.
From childhood, we prepare them for the hostility of the world and teach them to survive by force, not by diplomacy. How will our children be able to create peace worldwide, about which our ancestors dreamed, if from childhood they believe that truth lies in strength?". — Ekaterina Shalamova.
This is well illustrated by the recent militarization of holidays in children's institutions. We shield children from negative experiences, so we only tell them about the triumph of the victor, about how important it is to win at any cost.
In this way, we teach our children to resolve conflicts by force, not by negotiation. In school, this influence on children gains strength. And all this upbringing is justified by patriotism and pride in our ancestors. It turns out that from childhood we teach children to fight, not to negotiate; to prove their point by force, not by negotiation and arguments.
From childhood, we prepare them for the hostility of the world and teach them to survive by force, not by diplomacy. How will our children be able to create peace worldwide, about which our ancestors dreamed, if from childhood they believe that truth lies in strength?". — Ekaterina Shalamova.
Interior designer, artist. Born in 1987 in Krasnodar, Russia. From 1997 to 1999, she studied at an art school. In 2010, she graduated from the Faculty of Design at the Institute of Economics, Law, and Natural Sciences. At other times, she worked as an interior designer. She then finally transitioned into artistic and creative activities. Since 2022, she has been an active participant in group exhibitions in Russia and abroad. Since 2023, she has lived and worked in Belgrade, Serbia.
ARTIST STATEMENT
From childhood, I was interested in art in its various manifestations, but I did not create it myself. The situation changed after the birth of my son. There was a complete reassessment of values. For a long time, I was interested in the theme of parent-child relationships, the influence of generational experience on the present generation, especially the influence of the mother on the formation of personality.
For a number of reasons, I often found myself in children's hospitals and sanatoriums, where I was an involuntary witness to the varying degrees of attention and love for children. From these observations, ideas for my works emerged.
From childhood, I was interested in art in its various manifestations, but I did not create it myself. The situation changed after the birth of my son. There was a complete reassessment of values. For a long time, I was interested in the theme of parent-child relationships, the influence of generational experience on the present generation, especially the influence of the mother on the formation of personality.
For a number of reasons, I often found myself in children's hospitals and sanatoriums, where I was an involuntary witness to the varying degrees of attention and love for children. From these observations, ideas for my works emerged.
Ekaterina Shalamova
Interior designer, artist
Anastasia Pakosh. Decorative sculpture "Inheritance". 2024.
Chamotte, white pigment, polyurethane foam. 53 x 35 x 35 cm
.
Chamotte, white pigment, polyurethane foam. 53 x 35 x 35 cm
.
"In my work, I address poignant themes of processing psychological traumas and the influence of child rearing on their future.
Growing up in my parental home was challenging. I was surrounded by an uneasy atmosphere, feelings of loneliness, and injustice. I dreamed of growing up quickly and leaving there, convinced that I would never be like my relatives, that I was different.
And here I am, an adult, hardened yet fragile, recreating myself thousands of kilometers away from my homeland. It turns out that in stressful situations, the integrity of the constructed "self" can be disrupted, and then the accumulated family behavior patterns uncontrollably seep out through the cracks. And now I find myself speaking with my parents' phrases, with their intonation, reacting to events as they would. I am not different, I am a part of them, and they are a part of me.
I depict this conflict and simultaneous coexistence of two parts of myself in my work by combining absolutely different materials. Ceramics—this is my "armor", the result of attempts to rebuild a new personality, moving away from a traumatic past. And the synthetic foam emerging through the cracks—that is the very "inheritance"" – Anastasia Pakosh
Growing up in my parental home was challenging. I was surrounded by an uneasy atmosphere, feelings of loneliness, and injustice. I dreamed of growing up quickly and leaving there, convinced that I would never be like my relatives, that I was different.
And here I am, an adult, hardened yet fragile, recreating myself thousands of kilometers away from my homeland. It turns out that in stressful situations, the integrity of the constructed "self" can be disrupted, and then the accumulated family behavior patterns uncontrollably seep out through the cracks. And now I find myself speaking with my parents' phrases, with their intonation, reacting to events as they would. I am not different, I am a part of them, and they are a part of me.
I depict this conflict and simultaneous coexistence of two parts of myself in my work by combining absolutely different materials. Ceramics—this is my "armor", the result of attempts to rebuild a new personality, moving away from a traumatic past. And the synthetic foam emerging through the cracks—that is the very "inheritance"" – Anastasia Pakosh
Ceramist, painter, designer. Born in 1986 in Dzerzhinsk, Nizhny Novgorod Region. From 1996 to 2002, she studied at a children's music school, and from 2002 to 2003, at an art school. In 2009, she graduated from the Faculty of Computational Mathematics and Cybernetics of Lobachevsky State University of Nizhni Novgorod. In parallel with university, she attended a school for young artists at the State Center for Contemporary Art of Nizhny Novgorod.
In 2020, she moved to St. Petersburg, completed pottery courses, studied painting and drawing at the "Here is Art" studio under graduates of the Repin St. Petersburg State Academy Institute of Painting, Sculpture and Architecture. In 2022, she completed a one-year program at the International Design School specializing in "Product Design".
From 2021 to 2023, she attended short courses at the "Academy of Ceramics" studio, studying various types of ceramic firing, and also completed a course in glaze chemistry at the GetArtFit art residency. In 2022, she left Russia and currently resides in Belgrade, Serbia.
In 2020, she moved to St. Petersburg, completed pottery courses, studied painting and drawing at the "Here is Art" studio under graduates of the Repin St. Petersburg State Academy Institute of Painting, Sculpture and Architecture. In 2022, she completed a one-year program at the International Design School specializing in "Product Design".
From 2021 to 2023, she attended short courses at the "Academy of Ceramics" studio, studying various types of ceramic firing, and also completed a course in glaze chemistry at the GetArtFit art residency. In 2022, she left Russia and currently resides in Belgrade, Serbia.
ARTIST STATEMENT
My name is Anastasia Pakosh, and I am an artist in the fields of painting and ceramic sculpture. It wasn't always like this. For most of my life, I merely circled around art. I believed that work should be difficult, so for many years, I devalued and did not allow myself to seriously engage in what came easily and brought pleasure—drawing and sculpting. Therefore, I received technical education and tried myself in various professions, worked as a programmer, photographer, retoucher.
A few years ago, I attended pottery courses and immediately felt a connection with clay. As it turned out, ceramics is not easy; at every stage, there is a danger of increasing the distance between expectation and reality. But I find it interesting to delve into this ancient craft and create objects, overcoming difficulties step by step.
I have lived with depression for many years, constantly studying various forms of psychotherapy, undergoing treatment courses. My experience of working through childhood traumas, searching for support within myself—this is what I want to talk about in my works.
I hope that my creativity can support and give hope for a better future not only to me but to everyone who finds it difficult. It seems that this is particularly important now in the context of the catastrophes happening around
us.
My name is Anastasia Pakosh, and I am an artist in the fields of painting and ceramic sculpture. It wasn't always like this. For most of my life, I merely circled around art. I believed that work should be difficult, so for many years, I devalued and did not allow myself to seriously engage in what came easily and brought pleasure—drawing and sculpting. Therefore, I received technical education and tried myself in various professions, worked as a programmer, photographer, retoucher.
A few years ago, I attended pottery courses and immediately felt a connection with clay. As it turned out, ceramics is not easy; at every stage, there is a danger of increasing the distance between expectation and reality. But I find it interesting to delve into this ancient craft and create objects, overcoming difficulties step by step.
I have lived with depression for many years, constantly studying various forms of psychotherapy, undergoing treatment courses. My experience of working through childhood traumas, searching for support within myself—this is what I want to talk about in my works.
I hope that my creativity can support and give hope for a better future not only to me but to everyone who finds it difficult. It seems that this is particularly important now in the context of the catastrophes happening around
us.
Anastasia Pakosh
Ceramist, painter, designer
Zhenya Gorokhova. Installation of three ceramic objects "Fragments of Generations". 2024.
Ceramics, glaze, hand painting. 27 x 18 cm.
.
Ceramics, glaze, hand painting. 27 x 18 cm.
.
"In Russia, during the 20th-21st centuries, the political system has repeatedly changed, and as a result—the ideological one. This inevitably affected all spheres of life, including relationships within families.
I observe how each subsequent generation lives in denial of the ideals of the previous one, refusing to accept the cultural traditions of older family members, considering them a reflection of "wrong" values, misconceptions.
I have long had a feeling that some force systematically breaks down that very dear and real bond that we have—family.
These are the thoughts I would like to reflect in my work "Shards of Generations"" — Zhenya Gorokhova
I observe how each subsequent generation lives in denial of the ideals of the previous one, refusing to accept the cultural traditions of older family members, considering them a reflection of "wrong" values, misconceptions.
I have long had a feeling that some force systematically breaks down that very dear and real bond that we have—family.
These are the thoughts I would like to reflect in my work "Shards of Generations"" — Zhenya Gorokhova
A contemporary Russian multidisciplinary artist. Born in 1989 in Voronezh, Russia. In 2012, she graduated from the architectural and construction university with a degree in "Environmental Architecture Design," additionally studied painting in the studio of Zagorodnykh A.V. She worked as an artist on the animation project "Wolves and Sheep" and was a teacher at the Telescope screen creativity studio.
Two years ago, Evgenia moved to Serbia, where her first solo exhibition "You Are Here" took place, marking a new starting point in her creative journey. She has been a participant in various international group exhibitions since 2018.
Two years ago, Evgenia moved to Serbia, where her first solo exhibition "You Are Here" took place, marking a new starting point in her creative journey. She has been a participant in various international group exhibitions since 2018.
ARTIST STATEMENT
Color and irony and play— are the main characteristics of my work.
Different things can become elements of the game—starting from the absolute beauty of my daughter to the nuances of building democracy in the post-Soviet space, but it is always what concerns me at a specific moment in time.
How the elements connect and intertwine is determined by the creative process—the game itself, so I never know the final result, for me, it is only a partially controllable process.
Color and irony and play— are the main characteristics of my work.
Different things can become elements of the game—starting from the absolute beauty of my daughter to the nuances of building democracy in the post-Soviet space, but it is always what concerns me at a specific moment in time.
How the elements connect and intertwine is determined by the creative process—the game itself, so I never know the final result, for me, it is only a partially controllable process.
Zhenya Gorokhova
Contemporary artist
Tatiana Polevichyok. "Maternal Instinct". 2022.
Canvas, oil. 80 x 80 cm.
Canvas, oil. 80 x 80 cm.
"In modern society, the roles of men and women, their assignment to different genders, and behavioral stereotypes are actively discussed. The ideal female image includes many points, some of which contradict each other. The pursuit of an image and the desire to conform to certain 'gurus' distance one from understanding one's own desires, including the desire to be a mother or not.
The work 'Maternal Instinct' reflects the author's personal experiences regarding motherhood through visual metaphors, calling for a discussion of its role in modern society. According to the author, the maternal instinct is expressed in unconditional love, determination, and aggression - all for the safety of the family, protection of one's own children, and the continuation of the lineage. This has been the case for many millennia. But now the focus is shifting to other values: independence, self-sufficiency, personal success, and pleasures.
Motherhood, like fatherhood, seems alien, hostile, and departing from the newly created 'norm' to the younger generation. At the same time, the awakened instinct does not guarantee an easy transition into the role of a mother, even if a high social level is achieved. Despite the rapid growth of the world's population, conception and birth remain a great miracle.
And in the end, every woman must find her own path, choosing or combining happy motherhood, freedom, and well-being". — Tatiana Polevichyok
The work 'Maternal Instinct' reflects the author's personal experiences regarding motherhood through visual metaphors, calling for a discussion of its role in modern society. According to the author, the maternal instinct is expressed in unconditional love, determination, and aggression - all for the safety of the family, protection of one's own children, and the continuation of the lineage. This has been the case for many millennia. But now the focus is shifting to other values: independence, self-sufficiency, personal success, and pleasures.
Motherhood, like fatherhood, seems alien, hostile, and departing from the newly created 'norm' to the younger generation. At the same time, the awakened instinct does not guarantee an easy transition into the role of a mother, even if a high social level is achieved. Despite the rapid growth of the world's population, conception and birth remain a great miracle.
And in the end, every woman must find her own path, choosing or combining happy motherhood, freedom, and well-being". — Tatiana Polevichyok
An artist, the founder of the creative studio "Art-Znak," author, and painting course instructor, organizer of exhibitions and masterclasses. A member of the Union of Russian Artists, she was born in 1982 in Yekaterinburg. In 2005, she graduated from the Ural Polytechnic Institute (now Ural Federal University) with a degree in "Management in the Social Sphere".
She worked with artists to start her own artistic career since 2012. Since 2013, she has pioneered the trend of adult masterclasses as intellectual leisure in Yekaterinburg. For the past 4 years, she has been teaching portrait, authorial, and abstract painting courses. Over 10 years, she has organized 15 solo exhibitions and participated in more than 20 art projects. Her works are in private collections across Russia.
She currently lives and works in Yekaterinburg.
She worked with artists to start her own artistic career since 2012. Since 2013, she has pioneered the trend of adult masterclasses as intellectual leisure in Yekaterinburg. For the past 4 years, she has been teaching portrait, authorial, and abstract painting courses. Over 10 years, she has organized 15 solo exhibitions and participated in more than 20 art projects. Her works are in private collections across Russia.
She currently lives and works in Yekaterinburg.
ARTIST STATEMENT
My professional activity as an artist began relatively late in terms of 'artistic youth,' but it's as if I accumulated all this time the power for an outburst. If until thirty my innate talent manifested itself as a modest hobby, then at thirty, I released the genie from the bottle, so to speak. Expression emerged already in the early oil works and extended into graphics and classical portraits.
Abstraction, bold strokes, dynamics, and vividness of color became my trademark; emotions overflowed. Now my creativity and style have noticeably transformed; more philosophy, self-analysis, and metaphors emerged. I detest imitation and banality; I have never aimed to follow trends, preferring to set them myself. Therefore, it's difficult for me to understand to which direction a particular series of paintings will belong.
Immersing myself in the study of portraiture influenced new original works - in them, you will inevitably encounter a human image, echoes of self-portraiture. The world of present reality is ambiguous, contradictory, deceitful, and highly emotional. Social media allow peering into almost anyone's intimate life, yet the inner world, real experiences, remain deeply hidden.
Honesty, trust, kindness, tears of hurt and anger, self-irony - we do not show these 'non-Instagrammable' manifestations. But I do. In my works. I bring out fears, 'uncomfortable' memories and thoughts, childhood joys, conflicting feelings. Metaphor is a wonderful figurative tool that 'unfolds' in each person according to the experience of the viewer, their emotional and intellectual readiness.
I merge abstraction and realism, blend techniques, combine expression with static images, experiment with materials, strive to be unexpected even for myself. I can confidently say that the canvas is a kind of personal diary for me. And the viewer's reaction will also be part of these diary entries.
My professional activity as an artist began relatively late in terms of 'artistic youth,' but it's as if I accumulated all this time the power for an outburst. If until thirty my innate talent manifested itself as a modest hobby, then at thirty, I released the genie from the bottle, so to speak. Expression emerged already in the early oil works and extended into graphics and classical portraits.
Abstraction, bold strokes, dynamics, and vividness of color became my trademark; emotions overflowed. Now my creativity and style have noticeably transformed; more philosophy, self-analysis, and metaphors emerged. I detest imitation and banality; I have never aimed to follow trends, preferring to set them myself. Therefore, it's difficult for me to understand to which direction a particular series of paintings will belong.
Immersing myself in the study of portraiture influenced new original works - in them, you will inevitably encounter a human image, echoes of self-portraiture. The world of present reality is ambiguous, contradictory, deceitful, and highly emotional. Social media allow peering into almost anyone's intimate life, yet the inner world, real experiences, remain deeply hidden.
Honesty, trust, kindness, tears of hurt and anger, self-irony - we do not show these 'non-Instagrammable' manifestations. But I do. In my works. I bring out fears, 'uncomfortable' memories and thoughts, childhood joys, conflicting feelings. Metaphor is a wonderful figurative tool that 'unfolds' in each person according to the experience of the viewer, their emotional and intellectual readiness.
I merge abstraction and realism, blend techniques, combine expression with static images, experiment with materials, strive to be unexpected even for myself. I can confidently say that the canvas is a kind of personal diary for me. And the viewer's reaction will also be part of these diary entries.
Tatiana Polevichyok
Contemporary artist
Alexandr Staub. Artwork "Official Message". 2023.
Ribbon, acrylic. 300 x 5 cm.
Ribbon, acrylic. 300 x 5 cm.
The work consists of a black satin ribbon with golden letters that read:
"On this stretch of infinity, your presence in the universe is unwanted".
The object is stylized as a mourning ribbon, and the phrase itself refers to diplomatic jargon.
"In recent times, there has been a reconsideration of the concept of 'home.' In the current situation, it's challenging to feel safe.
In my view, it is precisely the fundamental need for safety that forms the basis for the concepts of 'home' and 'family.' The rejection of each other's political views led to misunderstanding within the family, undermining the last bastion of security. Russia, the place where I was born, ceased to be home for me. My parents remain there, as do the graves of my ancestors. A person detached from their family feels helpless. Thus, I stopped understanding where my home is.
With every piece of news, with every official message coming from Russia, this country drifts further away from me. Whether I will find a new home, I do not know. This object is my interpretation of the generalized message of 'official communications' over the past 2 years". – Alexandr Staub
"On this stretch of infinity, your presence in the universe is unwanted".
The object is stylized as a mourning ribbon, and the phrase itself refers to diplomatic jargon.
"In recent times, there has been a reconsideration of the concept of 'home.' In the current situation, it's challenging to feel safe.
In my view, it is precisely the fundamental need for safety that forms the basis for the concepts of 'home' and 'family.' The rejection of each other's political views led to misunderstanding within the family, undermining the last bastion of security. Russia, the place where I was born, ceased to be home for me. My parents remain there, as do the graves of my ancestors. A person detached from their family feels helpless. Thus, I stopped understanding where my home is.
With every piece of news, with every official message coming from Russia, this country drifts further away from me. Whether I will find a new home, I do not know. This object is my interpretation of the generalized message of 'official communications' over the past 2 years". – Alexandr Staub
Multidisciplinary artist, born in 1985 in St. Petersburg. Works with mediums including photography, video, installation, and collage. A member of the art group "Particles".
Graduated from the St. Petersburg State University of Cinema and Television (SPbGUKiT) with a specialization in video editing. Then attended Alexander Medvedev's photo school and completed courses with Ekaterina Vasilieva.
In his practice, the author explores the themes of freedom and lack of freedom in modern society. He started as a montage director and music photojournalist before transitioning to artistic practices in 2022.
Throughout his career, he has been a participant in solo and group exhibitions in cities such as Tbilisi, Batumi, and St. Petersburg. Currently, he lives and works in Belgrade, Serbia.
Graduated from the St. Petersburg State University of Cinema and Television (SPbGUKiT) with a specialization in video editing. Then attended Alexander Medvedev's photo school and completed courses with Ekaterina Vasilieva.
In his practice, the author explores the themes of freedom and lack of freedom in modern society. He started as a montage director and music photojournalist before transitioning to artistic practices in 2022.
Throughout his career, he has been a participant in solo and group exhibitions in cities such as Tbilisi, Batumi, and St. Petersburg. Currently, he lives and works in Belgrade, Serbia.
ARTIST STATEMENT
I was born and have spent most of my life on the outskirts of St. Petersburg. Through my artistic activity, I aim to show people from other countries my perspective on the situation in Russia, my reflections on collective trauma, moral norms, and legality.
Walking practices help me to feel the place where I live, to deduce its essence, and to find a common concept of this territory through details. In this way, I create my internal "imprint" of the territory, appropriating it and transmitting it through my works.
I consider myself an agnostic and a supporter of the scientific approach. However, I also have a sincere interest in religion as a sociocultural phenomenon. In some of my works, I use religious aesthetics. Text plays an important role in my works. Since Russian is my native language in artistic practice, I use it exclusively.
I was born and have spent most of my life on the outskirts of St. Petersburg. Through my artistic activity, I aim to show people from other countries my perspective on the situation in Russia, my reflections on collective trauma, moral norms, and legality.
Walking practices help me to feel the place where I live, to deduce its essence, and to find a common concept of this territory through details. In this way, I create my internal "imprint" of the territory, appropriating it and transmitting it through my works.
I consider myself an agnostic and a supporter of the scientific approach. However, I also have a sincere interest in religion as a sociocultural phenomenon. In some of my works, I use religious aesthetics. Text plays an important role in my works. Since Russian is my native language in artistic practice, I use it exclusively.
Alexandr Staub
Multidisciplinary artist
Alexandra Marich. "Composition 1". 2023.
Terracotta relief. 150 x 150 cm.
Terracotta relief. 150 x 150 cm.
"The questions are there. There is no right or wrong answer. I'm not sure about your knowledge, nor mine". — Alexandra Marich.
Conceptual artist. Born in 1995, in Gornji Milanovac, Serbia. Multiple participants in group exhibitions in Serbia, Istanbul, Singapore, and other European countries. In 2022, a solo exhibition was held in Belgrade.
ARTIST STATEMENT
My art does not adhere to narrow confines of specific means of expression; rather, it floats freely, as an integral part of life. My aim is to delicately and deeply convey my explorations, thoughts, and emotions, enveloping them in exquisite forms and images.
My art does not adhere to narrow confines of specific means of expression; rather, it floats freely, as an integral part of life. My aim is to delicately and deeply convey my explorations, thoughts, and emotions, enveloping them in exquisite forms and images.
Alexandra Marich
Conceptual artist
Nevena Milosavljevic. "Edition". 2023.
Aluminum. 110 x 60 cm.
Aluminum. 110 x 60 cm.
"Delving into the subtle dynamics of human relationships, especially in a familial context, the focus shifts not only to physical connections but also to the delicate interplay of emotional bonds. Each individual, akin to the microcosm of a family unit, carries within them a harmonious fusion of both masculine and feminine energies.
In various spiritual traditions, these energies transcend the individual, symbolizing aspects of the Divine or Universal. As individuals strive for the integration and balancing of inner energies, a collective synergy emerges, fostering deep spiritual interconnection, inner tranquility, and a sense of wholeness within the family unit.
This familial synergy, reflecting the dance of masculine and feminine energies, extends its influence beyond personal relationships, shaping a broader social landscape. The collaborative interaction of these energies promotes harmonious coexistence of diverse ideas and perspectives, echoing the supportive dynamics inherent in the embracing embrace of family relationships and shared values". — Nevena Milosavljevic
In various spiritual traditions, these energies transcend the individual, symbolizing aspects of the Divine or Universal. As individuals strive for the integration and balancing of inner energies, a collective synergy emerges, fostering deep spiritual interconnection, inner tranquility, and a sense of wholeness within the family unit.
This familial synergy, reflecting the dance of masculine and feminine energies, extends its influence beyond personal relationships, shaping a broader social landscape. The collaborative interaction of these energies promotes harmonious coexistence of diverse ideas and perspectives, echoing the supportive dynamics inherent in the embracing embrace of family relationships and shared values". — Nevena Milosavljevic
Nevena, a sculptor born in 1996 in Čačak, embarked on her artistic journey by completing her studies at the Faculty of Fine Arts in Belgrade, specializing in sculpture under the guidance of Professor Zdravko Joksimovich. With a solid foundation in sculptural techniques honed during both her bachelor's and master's degrees, she has emerged as a prominent figure in the contemporary art scene.
Her creative prowess has been showcased through numerous solo exhibitions, each offering a unique exploration of form, texture, and concept. From "Beneath the Surface" to "Harmony of Dissonance," her exhibitions have captivated audiences, inviting them to ponder the intricate interplay between contrasting elements.
Participation in group exhibitions, both domestically and internationally, has further solidified Nevena's position as a versatile and esteemed sculptor. Her contributions to artistic events and symposiums have enriched the cultural dialogue, earning her recognition and acclaim, including a prestigious sculpture award at the Josip Bepo Benković Gallery in Herceg Novi, Montenegro.
Her creative prowess has been showcased through numerous solo exhibitions, each offering a unique exploration of form, texture, and concept. From "Beneath the Surface" to "Harmony of Dissonance," her exhibitions have captivated audiences, inviting them to ponder the intricate interplay between contrasting elements.
Participation in group exhibitions, both domestically and internationally, has further solidified Nevena's position as a versatile and esteemed sculptor. Her contributions to artistic events and symposiums have enriched the cultural dialogue, earning her recognition and acclaim, including a prestigious sculpture award at the Josip Bepo Benković Gallery in Herceg Novi, Montenegro.
ARTIST STATEMENT
For young sculptor Nevena Milosavljevic, the choice of material, its characteristics, and unique features become crucial in the process of creating sculptural works. It's not merely a choice of tools; it's the internal tensions and emotional depth of the author's concept.
The work completely engulfs her in its embrace, and each stage of the process demands strict attention until completion. Before delving into possible interpretations, the form must "justify the material it carries". For Nevena, the possibilities for choice are vast: from found materials, as in art pov-era, to noble onyxes, granites, and porcelains...
In the conflict of thoughts, feelings, and artistic processes, a work is born that expresses and frames internal contradictions. The result is not simply the materialization of figures and objects in space, as with contemporary sculptors; it is rather a form that defines space, absorbs it, and thus imbues it with meaning.
The work of art unfolds through its phenomenology in the postmodern era, before indicating possible references; sculptures possess an "unwavering attachment to their material and plastic structure". The dualism of matter, procedural and emotional tension lead to a creation that becomes a mirror of the soul in its ideal harmony.
For young sculptor Nevena Milosavljevic, the choice of material, its characteristics, and unique features become crucial in the process of creating sculptural works. It's not merely a choice of tools; it's the internal tensions and emotional depth of the author's concept.
The work completely engulfs her in its embrace, and each stage of the process demands strict attention until completion. Before delving into possible interpretations, the form must "justify the material it carries". For Nevena, the possibilities for choice are vast: from found materials, as in art pov-era, to noble onyxes, granites, and porcelains...
In the conflict of thoughts, feelings, and artistic processes, a work is born that expresses and frames internal contradictions. The result is not simply the materialization of figures and objects in space, as with contemporary sculptors; it is rather a form that defines space, absorbs it, and thus imbues it with meaning.
The work of art unfolds through its phenomenology in the postmodern era, before indicating possible references; sculptures possess an "unwavering attachment to their material and plastic structure". The dualism of matter, procedural and emotional tension lead to a creation that becomes a mirror of the soul in its ideal harmony.
Nevena Milosavljevic
Sculptor
Olga Zholobova. Installation "Memory". 2024.
Plastic box, canvas on stretcher bars, photo prints, poster printing, author's processing, acrylic. 60 x 60 x 40 cm.
Plastic box, canvas on stretcher bars, photo prints, poster printing, author's processing, acrylic. 60 x 60 x 40 cm.
"In my creative work, I almost always focus on documentary projects about old houses, vernacular neighborhoods, and people engaged in preserving antiquity, while also maintaining connections between generations.
Through the project 'Memory,' I attempt to address questions of time, generational connections, fear of oblivion, and issues of memory. The residents of the houses tenderly recount stories of their families, traditions, and memories passed down through narratives, objects, habits, sometimes in words and expressions.
Why is this important to me? I never lived in such a 'family nest,' but most of my life I spent with several generations of our family: great-grandmother, grandmother, parents, and me - the youngest generation. But now I am the oldest generation, with memories, objects, and traditions.
By documenting others' stories, I relive the history of my family once again, an important part of my life. Unfortunately, this part remains only in my memories. And memories, like 'homes with histories,' decay over time". – Olga Zholobova.
Through the project 'Memory,' I attempt to address questions of time, generational connections, fear of oblivion, and issues of memory. The residents of the houses tenderly recount stories of their families, traditions, and memories passed down through narratives, objects, habits, sometimes in words and expressions.
Why is this important to me? I never lived in such a 'family nest,' but most of my life I spent with several generations of our family: great-grandmother, grandmother, parents, and me - the youngest generation. But now I am the oldest generation, with memories, objects, and traditions.
By documenting others' stories, I relive the history of my family once again, an important part of my life. Unfortunately, this part remains only in my memories. And memories, like 'homes with histories,' decay over time". – Olga Zholobova.
The photographer is a multiple winner of All-Russian festivals and photo contests held in prominent cities like Moscow, St. Petersburg, and Astrakhan. Born in 1980 in Astrakhan, Russia, they pursued their education at Astrakhan State Technical University, graduating with a degree in Informatics-Economist.
Following their academic pursuits, they furthered their photography studies at the Faculty of Photo Correspondents named after Yu. Galperin in St. Petersburg. Here, they engaged in a documentary photography course led by Stanislav Marchenko from 2020 to 2022.
Additionally, they attended the photo school "Tsekh" in St. Petersburg, participating in an author's course conducted by Sergey Maksimishin titled "Photographer as a storyteller" from 2022 to 2023. Their active involvement in group exhibitions spans both domestic and international venues, with showcases in cities such as Moscow, Astrakhan, Kaluga, St. Petersburg, Samara, Podgorica, and Belgrade.
Currently, the photographer resides in Belgrade, Serbia, continuing their artistic endeavors and engaging with the vibrant cultural scene of their new home.
Following their academic pursuits, they furthered their photography studies at the Faculty of Photo Correspondents named after Yu. Galperin in St. Petersburg. Here, they engaged in a documentary photography course led by Stanislav Marchenko from 2020 to 2022.
Additionally, they attended the photo school "Tsekh" in St. Petersburg, participating in an author's course conducted by Sergey Maksimishin titled "Photographer as a storyteller" from 2022 to 2023. Their active involvement in group exhibitions spans both domestic and international venues, with showcases in cities such as Moscow, Astrakhan, Kaluga, St. Petersburg, Samara, Podgorica, and Belgrade.
Currently, the photographer resides in Belgrade, Serbia, continuing their artistic endeavors and engaging with the vibrant cultural scene of their new home.
ARTIST STATEMENT
I entered the world of photography not as early as I had dreamed. But since then, the camera has become my faithful companion, and people - the main characters of my photographs. Staged shots and artificial studio atmosphere are not to my liking. I am much closer to real life, in all its unadorned beauty and complexity.
In my works, I strive to communicate with the characters, to immerse myself in their stories. I am interested in capturing fleeting moments: sincere smiles, contemplative looks, everyday gestures.
The theme of society runs through all my projects. I explore it in various manifestations: from warm relationships within families to vast urban landscapes. I pay special attention to questions of memory and the fear of oblivion. Through the lens of my camera, I explore the fragility of human existence and the value of preserving our stories.
In photography, I not only seek reflection of the surrounding world but also experience my own history. I find similarities between my own experience and the experiences of the people I photograph, allowing me to delve deeper into the essence of human existence.
My photographs are not just documentary evidence. They are an attempt to glimpse into the soul of a person, to capture a fleeting moment and preserve it for memory. In them, I share my view of the world, my reflections, and feel
ings.
I entered the world of photography not as early as I had dreamed. But since then, the camera has become my faithful companion, and people - the main characters of my photographs. Staged shots and artificial studio atmosphere are not to my liking. I am much closer to real life, in all its unadorned beauty and complexity.
In my works, I strive to communicate with the characters, to immerse myself in their stories. I am interested in capturing fleeting moments: sincere smiles, contemplative looks, everyday gestures.
The theme of society runs through all my projects. I explore it in various manifestations: from warm relationships within families to vast urban landscapes. I pay special attention to questions of memory and the fear of oblivion. Through the lens of my camera, I explore the fragility of human existence and the value of preserving our stories.
In photography, I not only seek reflection of the surrounding world but also experience my own history. I find similarities between my own experience and the experiences of the people I photograph, allowing me to delve deeper into the essence of human existence.
My photographs are not just documentary evidence. They are an attempt to glimpse into the soul of a person, to capture a fleeting moment and preserve it for memory. In them, I share my view of the world, my reflections, and feel
ings.
Olga Zholobova
Photographer
Ekaterina Gedevanova. "Painted Memories". 2023.
Canvas, photograph, acrylic. 80 x 60 cm.
"For me, family values are the foundation of personal development. Family traditions, spending leisure time together - these are what provided support in childhood, helped shape me and avoid troubles in youth, and help keep sane in the present. Childhood became calm and understandable through family gatherings on holidays, long evening walks, pleasant routines on weekends, and family trips.
In this painting, you can see a photograph taken during one of such family trips. It's Croatia, the city of Rovinj. In difficult recent years, when uncertainty became part of our daily lives, family traditions became a pillar. It's not just pleasant memories of joint trips but also the opportunity to maintain a connection when reality seems complex and unpredictable. The photograph in the painting becomes part of this story - a testimony to family unity and support in the toughest times.
The photograph itself is a static image filled with a sense of stability, tranquility, and boundless silence. The painting as a whole is an indispensable means of preserving memories that could otherwise lose their sharpness and clarity. Over time, memories fade and change, creating the need to fix them on a tangible medium. Thanks to abstract strokes, our subconscious actively intervenes, adding fantasies to strengthen and enrich the preserved images.
Thus, the work serves not only as a mirror reflecting past moments but also as a bridge between reality and our inner world, where memories become a unique art, combining reality and fantasy" — Ekaterina Gedevanova.
In this painting, you can see a photograph taken during one of such family trips. It's Croatia, the city of Rovinj. In difficult recent years, when uncertainty became part of our daily lives, family traditions became a pillar. It's not just pleasant memories of joint trips but also the opportunity to maintain a connection when reality seems complex and unpredictable. The photograph in the painting becomes part of this story - a testimony to family unity and support in the toughest times.
The photograph itself is a static image filled with a sense of stability, tranquility, and boundless silence. The painting as a whole is an indispensable means of preserving memories that could otherwise lose their sharpness and clarity. Over time, memories fade and change, creating the need to fix them on a tangible medium. Thanks to abstract strokes, our subconscious actively intervenes, adding fantasies to strengthen and enrich the preserved images.
Thus, the work serves not only as a mirror reflecting past moments but also as a bridge between reality and our inner world, where memories become a unique art, combining reality and fantasy" — Ekaterina Gedevanova.
The artist, without formal artistic education and participation in exhibitions, was born in Moscow in 1990. She graduated from the Russian State Social University with a degree in Social Anthropology. Her passion for art led her to self-education and the development of a unique abstract style.
Her works are filled with emotions and embody the spirit of the urban environment. City photographs serve as a source of inspiration, and each work reflects her own experiences, lived experiences, and perception of the surrounding world. Despite the lack of exhibition history and specialized education, the artist continues her creative path, finding inspiration in the surrounding environment.
Currently, she resides in Belgrade, Serbia.
Her works are filled with emotions and embody the spirit of the urban environment. City photographs serve as a source of inspiration, and each work reflects her own experiences, lived experiences, and perception of the surrounding world. Despite the lack of exhibition history and specialized education, the artist continues her creative path, finding inspiration in the surrounding environment.
Currently, she resides in Belgrade, Serbia.
ARTIST STATEMENT
Since childhood, I learned to notice beauty in what society doesn't conventionally consider beautiful and attractive, in what has become ordinary or sometimes even unpleasant for us.
At times, I am overwhelmed by feelings from the abundance of beauty around, in moments of inspiration or strong emotional outbursts, I take up paints and try to pour out these feelings onto the canvas. This is how my paintings are born. Sometimes it's just paints conveying emotions and internal states at the moment of seeing, and sometimes it's photographs that I embed in paintings for a more subtle transmission of my sensations from the place that inspired me.
Through my paintings, I share with the viewer this overwhelming sense of unconventional beauty of the surrounding world. I would like everyone who sees my works to feel this powerful admiration for the magnificence of the environment. I don't know how to draw in realism, but I can convey emotions through broad abstract strokes and the riot of acrylic paints.
In the imperfection of the world, I find an inexhaustible source of inspiration, and drawing for me is an opportunity to be a translator of beauty between human and nature. My paintings are frozen moments of interaction between nature and humanity; they convey the unique combination of the beauty and imperfection of the world, creating harmony between two types of opposites. Each painting embodies not only my individuality but also a response to the broad context of the world we livein.
Since childhood, I learned to notice beauty in what society doesn't conventionally consider beautiful and attractive, in what has become ordinary or sometimes even unpleasant for us.
At times, I am overwhelmed by feelings from the abundance of beauty around, in moments of inspiration or strong emotional outbursts, I take up paints and try to pour out these feelings onto the canvas. This is how my paintings are born. Sometimes it's just paints conveying emotions and internal states at the moment of seeing, and sometimes it's photographs that I embed in paintings for a more subtle transmission of my sensations from the place that inspired me.
Through my paintings, I share with the viewer this overwhelming sense of unconventional beauty of the surrounding world. I would like everyone who sees my works to feel this powerful admiration for the magnificence of the environment. I don't know how to draw in realism, but I can convey emotions through broad abstract strokes and the riot of acrylic paints.
In the imperfection of the world, I find an inexhaustible source of inspiration, and drawing for me is an opportunity to be a translator of beauty between human and nature. My paintings are frozen moments of interaction between nature and humanity; they convey the unique combination of the beauty and imperfection of the world, creating harmony between two types of opposites. Each painting embodies not only my individuality but also a response to the broad context of the world we livein.
Ekaterina Gedevanova
Contemporary artist
Ulyana Konstantinova. Installation "Where I'm From". 2023.
Wooden sculpture, acrylic, pencil, photographs from the family archive. 13 x 12 x 6 cm.
Wooden sculpture, acrylic, pencil, photographs from the family archive. 13 x 12 x 6 cm.
In the photo: Great-great-grandmother Natalia, great-grandmother Claudia, grandmother Vera, my mother, me.
"Away from home, you begin to ponder family more deeply, contemplating the similarities and differences around you. This becomes particularly evident when trying to assimilate into life in another country.
Every moment, in attempts to find one's place, vividly illustrates where we come from and why we are who we are, not someone else. Why am I me? Where do I come from?
For me, during this phase of life, my growth as a woman, as an individual, is accompanied by questions about my mothers: what they were like, how much love they gave me, how many gifts they bestowed upon me to live. I promise to take it all with me and cherish it, forever etching your images, dear, beloved women of my family, into my heart. You are flowers—I am your seed". – Ulyana Konstantinova.
"Away from home, you begin to ponder family more deeply, contemplating the similarities and differences around you. This becomes particularly evident when trying to assimilate into life in another country.
Every moment, in attempts to find one's place, vividly illustrates where we come from and why we are who we are, not someone else. Why am I me? Where do I come from?
For me, during this phase of life, my growth as a woman, as an individual, is accompanied by questions about my mothers: what they were like, how much love they gave me, how many gifts they bestowed upon me to live. I promise to take it all with me and cherish it, forever etching your images, dear, beloved women of my family, into my heart. You are flowers—I am your seed". – Ulyana Konstantinova.
An artist and illustrator working with various mediums. Born in 1997 in the Udmurt Republic, in the village of Kizner. Ulyana studied in Yekaterinburg at the Ural State Academy of Architecture and Arts, specializing in "easel painting". She participated in all-Russian and international exhibitions and competitions.
An active participant in regional, solo, and group exhibitions. The artist's works were showcased in Moscow at the New Tretyakov Gallery and the Russian State Children's Library as part of the international illustration festival "MORS". She also exhibited in Kursk, Yekaterinburg, and Belgrade.
The artist's illustrations were included in the first collection of ethnographic studies on Udmurt culture in English, published by the Estonian Literary Museum in Tartu. Her works are held in private collections in Russia and abroad. In her works, Ulyana explores themes such as "identity," "family," and delves into subconscious and dream-related subjects, drawing inspiration from fairy tales and folklore.
The artist tailors her expressive language individually for each project, depending on the concept and idea. Ulyana works in various directions, ranging from contemporary art to design and book illustration. She currently lives and works in Belgrade, developing personal creative projects and engaging in artistic activities with children in groups and individually.
An active participant in regional, solo, and group exhibitions. The artist's works were showcased in Moscow at the New Tretyakov Gallery and the Russian State Children's Library as part of the international illustration festival "MORS". She also exhibited in Kursk, Yekaterinburg, and Belgrade.
The artist's illustrations were included in the first collection of ethnographic studies on Udmurt culture in English, published by the Estonian Literary Museum in Tartu. Her works are held in private collections in Russia and abroad. In her works, Ulyana explores themes such as "identity," "family," and delves into subconscious and dream-related subjects, drawing inspiration from fairy tales and folklore.
The artist tailors her expressive language individually for each project, depending on the concept and idea. Ulyana works in various directions, ranging from contemporary art to design and book illustration. She currently lives and works in Belgrade, developing personal creative projects and engaging in artistic activities with children in groups and individually.
ARTIST STATEMENT
If I were asked what the center of my creativity is, it would probably be the words: "identity," "woman," and "family". These three themes have become the most significant discovery for me. In adulthood, I began to take an interest in my family history because it became unbearable not to know where I came from, not to feel the ground beneath my feet. I didn't know what to do or where to go.
Interest in family gave me support and provided me with the most important source of inspiration. Despite everything, my little Udmurtia grew inside me, despite moving to Yekaterinburg in my school years and living in another region afterward. For several years, I explored myself through communication with my family, through learning about the lives of my relatives; I heard stories of their happiness and sorrow, and saw myself in them.
In my creative work, I draw on the mythology of ancient Udmurts, folklore; I seek images in dreams and magical thinking. I also study the Udmurt language and reconnect with my roots. My grandmother speaks Udmurt, and so do my relatives, but now the language is disappearing, which causes me great pain. In my creativity, I also try to use the Udmurt language, connecting with my native land and my family.
If I were asked what the center of my creativity is, it would probably be the words: "identity," "woman," and "family". These three themes have become the most significant discovery for me. In adulthood, I began to take an interest in my family history because it became unbearable not to know where I came from, not to feel the ground beneath my feet. I didn't know what to do or where to go.
Interest in family gave me support and provided me with the most important source of inspiration. Despite everything, my little Udmurtia grew inside me, despite moving to Yekaterinburg in my school years and living in another region afterward. For several years, I explored myself through communication with my family, through learning about the lives of my relatives; I heard stories of their happiness and sorrow, and saw myself in them.
In my creative work, I draw on the mythology of ancient Udmurts, folklore; I seek images in dreams and magical thinking. I also study the Udmurt language and reconnect with my roots. My grandmother speaks Udmurt, and so do my relatives, but now the language is disappearing, which causes me great pain. In my creativity, I also try to use the Udmurt language, connecting with my native land and my family.
Ulyana Konstantinova
Contemporary artis, illustrator
Dmitriy Popovich. "Herds of ancestors". 2024.
Murano Glass.
Murano Glass.
"Countless individuals precede our existence, living within us, some less noticeable, some more, resonating within us like echoes in the mountains, some powerful enough to trigger an avalanche. This mixture makes us uniquely individual, and through intuitive creativity, it is embodied and expressed through works reflecting familial echoes resonating within us. This sound is eternal, reaching back to the dawn of existence, rooting so deeply that tracing them becomes impossible, while our trunk flourishes with the fruits of archetypal memories.
The artwork depicts a herd of elephants in a simplified, abstracted, playful form, calling for tribal dance - something primal, an eternal presence within us, with which we must interact and understand its resonance. Elephants are renowned for their remarkable memory of deceased herd members; invoking these memories, I aim to direct the viewer to those distant yet essential aspects of our past.
Glass, as a material, possesses a cutting edge and, through its processing, strives for molecular equilibrium. At the same time, like humanity, matter is fragile and subject to change." — Dmitriy Popovich.
The artwork depicts a herd of elephants in a simplified, abstracted, playful form, calling for tribal dance - something primal, an eternal presence within us, with which we must interact and understand its resonance. Elephants are renowned for their remarkable memory of deceased herd members; invoking these memories, I aim to direct the viewer to those distant yet essential aspects of our past.
Glass, as a material, possesses a cutting edge and, through its processing, strives for molecular equilibrium. At the same time, like humanity, matter is fragile and subject to change." — Dmitriy Popovich.
A conceptual artist, sculptor. Born in 1993 in Pozharevac. He graduated from the Faculty of Fine Arts in Belgrade, completing basic and master's education in painting under the guidance of Dobritsa Bisennich. Currently, he is in his second year of sculpture postgraduate studies at the same faculty, where he holds the position of researcher and works as an assistant in classes.
Since 2015, he has been part of the creative team of the children's theater "Chicha Michino" in Belgrade, participating in the creation of about 20 of their performances. In 2016, together with Philip Boshkovich, he acted as conceptual authors of the stage design for the play "Magic Lyre," and in 2020, as a conceptual author of the graphic design stage scenery for the play "Clee and Clack".
As part of the Youth Integration Center's Educational Program, he has conducted several art workshops. In 2020, he participated in the project "Nature - My Homeland," which was presented by an exhibition at the "Handlova Bronovitse" gallery in Krakow. He has had one solo and three group exhibitions to date.
Since 2015, he has been part of the creative team of the children's theater "Chicha Michino" in Belgrade, participating in the creation of about 20 of their performances. In 2016, together with Philip Boshkovich, he acted as conceptual authors of the stage design for the play "Magic Lyre," and in 2020, as a conceptual author of the graphic design stage scenery for the play "Clee and Clack".
As part of the Youth Integration Center's Educational Program, he has conducted several art workshops. In 2020, he participated in the project "Nature - My Homeland," which was presented by an exhibition at the "Handlova Bronovitse" gallery in Krakow. He has had one solo and three group exhibitions to date.
ARTIST STATEMENT
My creativity stems from an idea and evolves in the process of embodiment. Over the past two years of my exploration, I have experimented with various materials and been inspired by Inuit art, especially their depictions of flying bears.
My works serve as a bridge between nature, the spiritual realm, and reality, reflecting the continuous continuum of the universe. Through simplicity of form and the interplay of color, I aim to create contemporary and elegant compositions that allow space for the viewer's perception.
My sculptures and paintings invite us to explore the world of form and meaning, delving into the depths of space and the interconnectedness between living and non-living elements.
In this context, sculpture becomes not just an object but a key to understanding the world around us.
My creativity stems from an idea and evolves in the process of embodiment. Over the past two years of my exploration, I have experimented with various materials and been inspired by Inuit art, especially their depictions of flying bears.
My works serve as a bridge between nature, the spiritual realm, and reality, reflecting the continuous continuum of the universe. Through simplicity of form and the interplay of color, I aim to create contemporary and elegant compositions that allow space for the viewer's perception.
My sculptures and paintings invite us to explore the world of form and meaning, delving into the depths of space and the interconnectedness between living and non-living elements.
In this context, sculpture becomes not just an object but a key to understanding the world around us.
Dmitriy Popovich
Conceptual artist, sculptor
Nata Istomina. "Blood Ties". 2024.
Canvas, threads, mixed media. 100 x 140 cm.
Canvas, threads, mixed media. 100 x 140 cm.
"Our familial connections are not just bonds, but an entire ecosystem where we are interconnected, exchanging energy and thoughts, creating our unique world.
The dark side of these ties unfolds in tangled knots and interweavings. They remind us of the complexities in relationships and how easily mutual expectations and misunderstandings can turn into painful knots that sometimes need to be cut for liberation.
Even when ties are severed, they leave indelible marks. We carry a part of the other within us—their opinions, emotions, energy, forever woven into our essence.
This installation is like a living ecosystem of human emotions and relationships, constantly evolving and changing, reflecting the infinite complexity and beauty of familial ties..." – Nata Istomina.
The dark side of these ties unfolds in tangled knots and interweavings. They remind us of the complexities in relationships and how easily mutual expectations and misunderstandings can turn into painful knots that sometimes need to be cut for liberation.
Even when ties are severed, they leave indelible marks. We carry a part of the other within us—their opinions, emotions, energy, forever woven into our essence.
This installation is like a living ecosystem of human emotions and relationships, constantly evolving and changing, reflecting the infinite complexity and beauty of familial ties..." – Nata Istomina.
Interior designer, educator, artist. Winner of international and all-Russian awards such as the "Best Public Space Award," "Best Archilovers," "AD Design Award," and "ARCHIWOOD Best Interior". Born in 1981 in Vladivostok. Graduated from the "Details" school-studio. Participated in Land art projects at festivals like "Cities," "Empty Hills," "Far Eastern Summers". Currently living and working in Belgrade.
ARTIST STATEMENT
My art explores symbolic imagery inherent in nature and the human consciousness. Each of my works encapsulates a story, an emotion, a moment of understanding, or a question seeking an answer. Through my art, I aim to create a space for dialogue, for contemplation about what surrounds us, and how we interact with this world.
I aspire towards diversity; my works embody harmony between the natural and the human-made, between inner worlds and external realities.
The creative process for me is a journey without a defined destination. Ideas come spontaneously; they do not ask for permission or demand explanations of their origins. It's important for me to give these ideas form, to transform them into a visual language that, despite its symbolism, remains understandable and relatable to the viewer. My art beckons internal reflection, offers its own perspective on the surrounding world, where each piece becomes a bridge between the visible and the invisible, between the material and the ideal.
My art explores symbolic imagery inherent in nature and the human consciousness. Each of my works encapsulates a story, an emotion, a moment of understanding, or a question seeking an answer. Through my art, I aim to create a space for dialogue, for contemplation about what surrounds us, and how we interact with this world.
I aspire towards diversity; my works embody harmony between the natural and the human-made, between inner worlds and external realities.
The creative process for me is a journey without a defined destination. Ideas come spontaneously; they do not ask for permission or demand explanations of their origins. It's important for me to give these ideas form, to transform them into a visual language that, despite its symbolism, remains understandable and relatable to the viewer. My art beckons internal reflection, offers its own perspective on the surrounding world, where each piece becomes a bridge between the visible and the invisible, between the material and the ideal.
Nata Istomina
Contemporary artis
Olga Dyakina. From the project "Around and About". 10 photographs, digital collages. 2020.
Photo paper, color photo printing. 13 x 18 cm; 15 x 21 cm.
Photo paper, color photo printing. 13 x 18 cm; 15 x 21 cm.
There are print editions of selected works signed by the author and accompanied by a certificate of authenticity.
Origin: author's property.
"For many years, I have constantly returned to memories of the family dacha. I heard the smell of our wooden house in other houses, longed for tea from the samovar, and a pile of granite stones opposite, which I rummaged through in search of treasures. In the place where the dacha was located, I felt a strong unity with myself, my parents, and my grandmother. With the world around. In childhood, I liked to reach the end of the road leading to the dacha house and curiously peek around the unexplored turn. I carefully kept memorable fragments even when I grew up and my grandmother was gone, and joint trips to the dacha remained in the past.
The image of the dacha is endowed with empirical significance for me. When the new owners demolished the house, I realized that I had lost something more than a physical object. Even in the family archive, I did not find images of the dacha. Only photos from the site. To reconstruct the symbols of the departed and once again feel like a child, I, like a pilgrim, set off with a camera to the village where the dacha stood. An archival photograph serves as a guide to memories that change along with me and acquire additional meanings". — Olga Dyakina
Origin: author's property.
"For many years, I have constantly returned to memories of the family dacha. I heard the smell of our wooden house in other houses, longed for tea from the samovar, and a pile of granite stones opposite, which I rummaged through in search of treasures. In the place where the dacha was located, I felt a strong unity with myself, my parents, and my grandmother. With the world around. In childhood, I liked to reach the end of the road leading to the dacha house and curiously peek around the unexplored turn. I carefully kept memorable fragments even when I grew up and my grandmother was gone, and joint trips to the dacha remained in the past.
The image of the dacha is endowed with empirical significance for me. When the new owners demolished the house, I realized that I had lost something more than a physical object. Even in the family archive, I did not find images of the dacha. Only photos from the site. To reconstruct the symbols of the departed and once again feel like a child, I, like a pilgrim, set off with a camera to the village where the dacha stood. An archival photograph serves as a guide to memories that change along with me and acquire additional meanings". — Olga Dyakina
Artist, writer. Born in 1990 in Konakovo (Tver region). In 2014, she graduated from the Institute of Journalism and Literary Creativity "IZhLT" in Moscow. A graduate of the contemporary photography school "DocDocDoc" and the Academy of Documentary and Art Photography "Photographica". The artist's works have been exhibited in Russia and the USA. In her personal projects, Olga addresses themes of human psychology, sensory experience, and memory. She also explores the relationship between humans and the environment.
Works with photography, art objects, digital collages, and painting. In 2021, one of her projects received a jury award at the prestigious international competition College Photographer of the Year (CPOY 76). Published in F-Stop Magazine, Private, Lenscratch, and other publications. Since 2017, she has been living in St. Petersburg.
ARTIST STATEMENT
In artistic practices, I like to resort to oddities and experiments because they allow both the author and the viewer to step out of their comfort zone. It's a chance to pause, forget about the accelerated pace of life, and look deeper into the familiar layer. After all, there is something beyond it. I am interested in changing the stable perception of life situations and objects, which leaves a dense imprint on consciousness and hinders it from being open.
The mediums I work with include photography, art objects, digital collages, and painting. I address the human being as one of the unique creatures living on earth, holding much unknown within themselves. Features of the psyche, sensory experience, memory, and the fragility of life are themes close to me.
I also consider the theme of the relationship between humans and the environment and their mutual influence on each other important for my practices. I do not accept anthropocentric ideas and believe that the whole world is a living organism where every life is significant. When considering ecological issues, I try not only to remind once again of global issues but also to see possible ways to restore the lost connection between humanity and nature.
In artistic practices, I like to resort to oddities and experiments because they allow both the author and the viewer to step out of their comfort zone. It's a chance to pause, forget about the accelerated pace of life, and look deeper into the familiar layer. After all, there is something beyond it. I am interested in changing the stable perception of life situations and objects, which leaves a dense imprint on consciousness and hinders it from being open.
The mediums I work with include photography, art objects, digital collages, and painting. I address the human being as one of the unique creatures living on earth, holding much unknown within themselves. Features of the psyche, sensory experience, memory, and the fragility of life are themes close to me.
I also consider the theme of the relationship between humans and the environment and their mutual influence on each other important for my practices. I do not accept anthropocentric ideas and believe that the whole world is a living organism where every life is significant. When considering ecological issues, I try not only to remind once again of global issues but also to see possible ways to restore the lost connection between humanity and nature.
Olga Dyakina
Artist, writer
Daria Pronina. "Family Chat". 2023.
Canvas, acrylic, varnish. 120 x 50 cm.
Canvas, acrylic, varnish. 120 x 50 cm.
"I have been contemplating how differently members of my family perceive me. Each of them has their own personal idea of who I am, shaped not only by their experiences and interactions with me, but also by their unique traits of character and the context in which they grew up. Periodically, I encounter these perceptions, and certain phrases or judgments slip through in our conversations and correspondence.
I conducted interviews among some members of my family, all of whom are very important to me and represent different generations. My grandmother, my mother, my partner, my younger brother. Additionally, I analyzed our correspondences and understood the key points in their perceptions of me. Through this analysis, I highlighted key moments, phrases, judgments, and transformed them into a visual language of abstract forms.
The final work is a vertically stretched canvas with images of elements of abstract infographics. An explanatory plaque where each element is a message, signed by the author of that message (Grandmother, Mother, etc.). With this project, I would like to reduce the tension surrounding the topic of family, to look at myself from the outside, through the eyes of those close to me, and still remain myself". — Daria Pronina.
I conducted interviews among some members of my family, all of whom are very important to me and represent different generations. My grandmother, my mother, my partner, my younger brother. Additionally, I analyzed our correspondences and understood the key points in their perceptions of me. Through this analysis, I highlighted key moments, phrases, judgments, and transformed them into a visual language of abstract forms.
The final work is a vertically stretched canvas with images of elements of abstract infographics. An explanatory plaque where each element is a message, signed by the author of that message (Grandmother, Mother, etc.). With this project, I would like to reduce the tension surrounding the topic of family, to look at myself from the outside, through the eyes of those close to me, and still remain myself". — Daria Pronina.
Multidisciplinary artist, illustrator, and art educator, she was born in 1994 in Perm. After graduating from Art School No. 1 in 2014, she pursued further education at PNIPU in Perm, specializing in industrial design from 2014 to 2016.
In 2018, she earned a bachelor's degree in Graphic Design from the Ural State Academy of Architecture and Arts in Yekaterinburg. Her educational journey continued with additional higher education in Art Pedagogy and Art Therapy Technologies in 2021. She also honed her skills at the Anna Radchenko Academy in Moscow.
In 2022, she was selected to participate in the Young Artist Laboratory in the Ural branch of the State Center for Contemporary Art, where she attended lectures on the history of Ural art and engaged in the ZIN Laboratory at the Sinara Art Gallery.
Throughout her career, she has been actively involved in exhibitions, projects, and fairs in Yekaterinburg, including a solo exhibition during the international event Museum Night in 2021. She has curated projects and collaborated with private galleries and museums.
Since 2023, she has been exhibiting her works in Belgrade, Serbia, and her art can be found in private collections across Russia, Kazakhstan, the USA, and Serbia. Currently, she resides and works in Belgrade, continuing to explore her diverse artistic talents and contributions to the art world.
In 2018, she earned a bachelor's degree in Graphic Design from the Ural State Academy of Architecture and Arts in Yekaterinburg. Her educational journey continued with additional higher education in Art Pedagogy and Art Therapy Technologies in 2021. She also honed her skills at the Anna Radchenko Academy in Moscow.
In 2022, she was selected to participate in the Young Artist Laboratory in the Ural branch of the State Center for Contemporary Art, where she attended lectures on the history of Ural art and engaged in the ZIN Laboratory at the Sinara Art Gallery.
Throughout her career, she has been actively involved in exhibitions, projects, and fairs in Yekaterinburg, including a solo exhibition during the international event Museum Night in 2021. She has curated projects and collaborated with private galleries and museums.
Since 2023, she has been exhibiting her works in Belgrade, Serbia, and her art can be found in private collections across Russia, Kazakhstan, the USA, and Serbia. Currently, she resides and works in Belgrade, continuing to explore her diverse artistic talents and contributions to the art world.
ARTIST STATEMENT
My artistic practice represents an exploratory approach aimed at reflecting my own experience in the context of the journey. My artistic evolution has led me to various materials and practices, including painting, digital 3D objects, total installations, illustrations, and video-art.
My research methodology is closely linked to a design approach. In my practice, I pay attention not only to aesthetic form but also to how materials, tools, and techniques justify conceptual content. I draw inspiration from the past, present, and possible future scenarios, and external factors such as cultural, social, and biological influences affect the context of my work.
My works are multi-layered images, providing the viewer with space for free interpretation. The goal is to create works that not only visually impress but also actively interact with the viewer's context. My art is intended to provoke reflection and stimulate dialogue about personal experiences and the search for meaning in one's own life path and levels of development.
My artistic practice represents an exploratory approach aimed at reflecting my own experience in the context of the journey. My artistic evolution has led me to various materials and practices, including painting, digital 3D objects, total installations, illustrations, and video-art.
My research methodology is closely linked to a design approach. In my practice, I pay attention not only to aesthetic form but also to how materials, tools, and techniques justify conceptual content. I draw inspiration from the past, present, and possible future scenarios, and external factors such as cultural, social, and biological influences affect the context of my work.
My works are multi-layered images, providing the viewer with space for free interpretation. The goal is to create works that not only visually impress but also actively interact with the viewer's context. My art is intended to provoke reflection and stimulate dialogue about personal experiences and the search for meaning in one's own life path and levels of development.
Daria Pronina
Multidisciplinary artist, illustrator
Darya Lednova. Exhibition design "Echoes of Family Relations 2024". 2024.
Digital collage.
Digital collage.
Talking about family is difficult. This short word encompasses a lot: memories and emotions, people and places, past and future. Family is an intertwining of connections that permeate our lives and determine who we are and what path we will choose. The exhibition "Echoes of Family Relations 2024" addresses the inner world of visitors through artistic imagery and graphic design. Family here is the subject of creative exploration. Each piece resonates with the unique voice of its creator; this polyphony reflects the multifaceted phenomenon that is family.
Collage artist, illustrator, designer. Born in the Tula region in 1989. Actively engaged in digital collage since 2020, her works have been featured in Contemporary Collage Magazine and in two booklets showcasing the best collages from the Paris Collage Collective for 2020 and 2021. As a collage artist, she has collaborated with the publishing house "Eksmo" and the magazine "Life Rules". Since September 2023, she has been living and working in Belgrade, Serbia.
She created the branding for the exhibition "Echoes of Family Relations 2024" and also prepared collages and designed special liquor labels for the exhibition partner SPIRIT INC.
She created the branding for the exhibition "Echoes of Family Relations 2024" and also prepared collages and designed special liquor labels for the exhibition partner SPIRIT INC.
ARTIST STATEMENT
Collage has been my favorite artistic technique since childhood. It involves combining distant elements and seeking new connections among familiar visual images.
For my artworks, I often seek unconventional creative methods. I want them to surprise both myself and others. It's like a game, the rules of which I create myself.
Collage has been my favorite artistic technique since childhood. It involves combining distant elements and seeking new connections among familiar visual images.
For my artworks, I often seek unconventional creative methods. I want them to surprise both myself and others. It's like a game, the rules of which I create myself.
Darya Lednova
Collage artist, illustrator, disigner
©JuliaShlenskaya
shlenskayajulia@gmail.com
shlenskayajulia@gmail.com
