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Sexuality Through The Practice As a Permanent Process To Produce Art. Time Is a Prison Or a Trap - an Inability To Escape From The Present.

Updated: Apr 20


The main objective of my research is to speculate about sexuality through the practice, as a permanent process of producing art to express sexual energy as pain, anger, or anxiety. Feminism informs my identity as a woman; the politics of this allow me to be free to explore sexuality in my practice, which is in itself the function of legacy.

As Tracey Amin, I reject discussion of feminist authority in my work, and yet I engage directly with modern female identity.

I am exploring sexuality through my own identity. I approach my practice as an experience, a physical and almost performative moment: every piece of art, every artistic gesture, or a manifest is a way to overcome embarrassment to accept vulnerability, weakness, and fragility. All my practice is a trial to unfold my sexuality, reflect, and be aware of it as power. This immersive experience is therefore an investigation of myself through time. I use language as a visual expression of my own identity. The ongoing process of developing ideas through multidisciplinary practices intuitively leads me to speak those truths that I believe and know beyond understanding.

Through the practice, I am unfolding my sexual identity with pain, anxiety, and frustrations. I am coming across boundaries and traps that I have been a part of for years because of belonging to Russian and Jewish identity. Art allows the violation of social norms, and in turn, a way for viewers to enter into sharing the human social condition - often in a controlled environment. The process leads me to look fears in the eye, be aware of the voice through anxiety and frustrations, and acknowledge my power, hidden deeper inside the body. Repetitions and symbolism are saving energy, balancing, and controlling the emotional and rational parts of me. The image of a bunny is an alter-ego of me and an ambiguity of human nature. I deform it making it more comprehensive or confusing for reading, like sound or invisible vibration. Within layers, I unfold sexuality and push struggles out of my body with blots, strikes, erasures, and an expressionistic or graffiti-vibrant painting. Through the practice, I identify myself as a woman not only in a social role and status and responsibilities as a national, a daughter, or a wife. But also as an artist or a human being who expresses feelings with tools and meanings. My work addresses the human condition in personal but also accessible to a broad audience. Whether my work is in video, sound, or painting, I use the media appropriate to a message and communicate directly and unambiguously. This quality in my works gives the viewer access to layers of narrative and meaning that are both intimate and universal. According to Audre Lorde, it means using erotic as power, which means to be responsible for deepest feelings and not giving up, of necessity, being satisfied with suffering and self-negation, and with the numbness that so often seems like their only alternative in our society.


"SPEECHLESS NIGHTS" PRIVATE COLLECTION  Mixed media: Acrylic/Ink/ Size: 100*90

"SPEECHLESS NIGHTS" PRIVATE COLLECTION

Mixed media: Acrylic/Ink/ Size: 100*90

PROJECT "THE WAR" GRAFFITI, ISRAEL, BEER-SHEVA

"THE WAR" GRAFFITI, ISRAEL, BEER-SHEVA


PROJECT "THE WAR" GRAFFITI, ISRAEL, BEER-SHEVA

"THE WAR" GRAFFITI, ISRAEL, BEER-SHEVA


Layers


Each layer deals with a fear. Fear is pain... each layer deals with the pleasure of the voyeur, the thrill of looking and being looked at. I refer to Louise Bourgeois's practice... In my case, all painting - and over time, the more it becomes so - is accidental. So I foresee it in my mind; I see things around as layers transcendental, surreal like past, present, and future mix with each other and give a result as an invisible energy. Media transforms itself. It's always blurring, sensual, sometimes with no words and visible contours; other times it is annoyingly precise, solid, and understandable but still hides a sense inside of it. In painting, I use very large brushes, and in the way I work, I don’t know very often what the paint will do, and it does many things which are very much better than I could make it do. In working with photos, I do not mind about the result; videos give me a chance to catch a moment of vibration; Digitally, I can adjust sketches numerous times, and similarly, with painting, I often don’t know what the result will be. Yet, it often surprises me with effects better than what I could plan. I am trying to trap the fact because, after all, artists always were, are, and will be obsessed with life and certain things that obsess them that I want to record. And I create systems and construct the cages in which I trap feelings and emotions.


ORIGINAL GRAPHIC "RABBITS' CHOICE" Watercolour/Ink Size 50*70  PRICE €450

ORIGINAL GRAPHIC "RABBITS' CHOICE" Watercolour/Ink Size 50*70

PRICE €450


UNTITLED - EMERALD (DIGITAL PRINT), 2023   Size  80*140 PRICE €900

PROJECT "ZERO GRAVITY" SOLO SHOW IN BASEL, SWITZERLAND

UNTITLED - EMERALD (DIGITAL PRINT), 2023

Size 80*140 PRICE €900

UNTITLED - EMERALD (DIGITAL PRINT), 2023   Size  80*140 PRICE €900

PROJECT "ZERO GRAVITY" SOLO SHOW IN BASEL, SWITZERLAND    UNTITLED AS A PART OF THE INSTALLATION


Digital Image "Untitled" was a part of the "Zero Gravity" show. A Unique print Size  80*140  PRICE €900

PROJECT "FRUSTRATIONS" Digital Image "Untitled" was a part of the "Zero Gravity" show. A Unique print is available to purchase Size 80*140

PRICE €900


Digital Image "Untitled" was a part of the "Zero Gravity" show. A Unique print  Size  80*140  PRICE €900

PROJECT "FRUSTRATIONS"

Digital Image "Untitled" was a part of the "Zero Gravity" show. A Unique print is available to purchase

Size 80*140

PRICE €900


Digital Image "Untitled" was a part of the "Zero Gravity" show. A Unique print  Size  80*140  PRICE €900

PROJECT "FRUSTRATIONS"

Digital Image "Untitled" was a part of the "Zero Gravity" show. A Unique print is available to purchase

Size 80*140

PRICE €900


Traps


In my practice sexuality, anxiety, and other powerful emotions drive forces in the creative process. The idea of taking a break traps me with fears and frustrations. In my mind, the idea to stop the process is the same as death. 

In terms of the political aspect, the idea of being trapped considers as a lack of choices. Being trapped means to be driven by someone and conceiving do something with no choice but to refuse. Producing art within time constraints might also be considered a trap, limiting options and paths. It emerges because it is out of itself from taboos, political restrictions, social dogmas.


Time is a prison or a trap - not being able to escape from the present. 


"Each cell deals with fear. Fear is pain... each cell deals with the pleasure of the voyeur, the thrill of looking and being looked at." 

The cells attract or repel each other, and create an urgent need in the visitor to combine, merge or disintegrate the pieces. 

Referring to Louis Bourgeois's statement Cells was directed by a desire for a particular physical confrontation. In my practice, traps are physical confrontation among chaos and stability, duty, and desire. I consider cells in my practice as traps. Loise Bourgeois built cells like prisons where she embedded her memories, life, sufferings, fears, weakness, and anger. It seems controversial: because society identifies the prison-like punishment and suffering, but in contrast, a tiny cell is a place of security and safety, but also degradation. 

I consider this sentence from the side of sensual context and desire to getting out from a cage. The cell keeps me inside, forces me to search for answers and be aware of them. Within diverse visual languages and layering them on top of one another, I express pain. Then I erase them with vibrant frustrating gestures and blots. Then traps it again and again with paints layers, scratches on top vibrations, and a provocative sexual gesture. Every layer traps expressions from the past and puts a new one on top, creating a logical thread of creative reflections. I like the idea of being seen by someone. It is also about pleasure and sex. I see something perverse in this. Through those expressions, a human being shows the face of oneself with desires, fantasies, and strength to control emotions, but at the same time to be brave enough to show personal imperfections.


Within my artistic practice, the interplay of security, anxiety, and intense emotions serves as driving forces in the creative process. The notion of taking a break becomes a confinement laden with fears and frustrations, and in my perception, interrupting the creative process is akin to facing a form of existential death.

In a political context, being ensnared implies a dearth of choices, a condition where external influences dictate actions, leaving no option but reluctant refusal. The act of producing art within defined timelines may also be scrutinised as a trap. It presents various options and pathways that emerge in defiance of societal taboos, political restrictions, and social dogmas.


"Time is a prison or a trap - an inability to escape from the present."


"Each cell grapples with fear. Fear is synonymous with pain...each cell contends with the pleasure of voyeurism, the exhilaration of both observing and being observed."


These cells exert forces of attraction or repulsion upon one another, instigating a pressing need in the observer to amalgamate, fuse, or disintegrate the components.

Drawing inspiration from Louise Bourgeois's assertion that "Cells" was motivated by a desire for specific physical confrontation, in my artistic practice, traps manifest as physical confrontations amid chaos and stability, duty, and desire. I perceive cells in my work as traps, akin to how Louise Bourgeois constructed cells resembling prisons where she embedded memories, life experiences, sufferings, fears, weaknesses, and anger. This perspective seems paradoxical, as society often associates prison with punishment and suffering, yet a diminutive cell represents both a haven of security and safety, and a site of degradation.

I interpret this narrative from a sensual standpoint, reflecting a desire to break free from a metaphorical cage. The cell confines me, compelling a search for answers and self-awareness. I articulate pain through diverse visual languages and layers, stacking them atop each other. These expressions are then effaced by vibrant, frustrating gestures and blots, only to be trapped again and again with subsequent paint layers, and resonating scratches. Each layer ensnares past expressions while introducing new ones, weaving a coherent thread of creative reflections. I embrace the idea of being observed, transcending into the realms of pleasure, sexuality, and the courage to reveal imperfections.


"A WOMAN NEEDS TO BE LOVED" COLLAGE: SCREEN-PRINT/PAPER/INK/MARKER

"A WOMAN NEEDS TO BE LOVED" COLLAGE: SCREEN-PRINT/PAPER/INK/MARKER

SCREENSHOT FROM THE COLLABORATIVE PROJECT IN DEFENSE OF FREEDOM OF PRESS AND HUMAN RIGHTS. #RUNFOROURRIGHTS #TREADMILL

SCREENSHOT FROM THE COLLABORATIVE PROJECT IN DEFENSE OF FREEDOM OF PRESS AND HUMAN RIGHTS. #RUNFOROURRIGHTS #TREADMILL


DIARY/STUDIO PHOTOSHOOT EMPRESS STUDIOS, ART RESIDENCY, LONDON

DIARY/STUDIO PHOTOSHOOT EMPRESS STUDIOS, ART RESIDENCY, LONDON


"YOU CAN'T JAIL THE ENTIRE COUNTRY" DIGITAL PRINT Sizes: 50*50/70*70 Price £50/£120

"YOU CAN'T JAIL THE ENTIRE COUNTRY" DIGITAL PRINT Sizes: 50*50/70*70 Price £50/£120


"RABBITS CHOICE"  SCREEN-PRINTS LIMITED EDITION  COLLABORATION WITH EAST LONDON PRINTMAKERS  Size 90*70  PRICE £450

"RABBITS CHOICE"

SCREEN-PRINTS LIMITED EDITION COLLABORATION WITH EAST LONDON PRINTMAKERS

Size 90*70

PRICE £450


Fear & Pain


Audre Lorde said that it is necessary for writers to scrutinise not only the truth of what they speak, but also the truth of the language through which they speak it. I use language as a visual expression of my own identity. The ongoing process of developing ideas through multidisciplinary practices intuitively leads me to speak those truths which I believe and know to be true beyond comprehension. And it is never without fear; of visibility, of the harsh light of scrutiny and perhaps judgment, of pain, of death.



"MY BIGGEST FEAR IS..." Digital print Size 100*100 Price £250

"MY BIGGEST FEAR IS..."

Digital print

Size 100*100

Price £250


"MY BIGGEST FEAR IS... Digital print Size 100*100 Price £250

"MY BIGGEST FEAR IS..."Digital printSize Digital print Size 100*100 Price £250









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