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Today the reality is changeable and it strives to adapt urgently to new circumstances. Due to the restrictions and in parallel sustainably rising of ecological, national, political issues we have lack of availability to choose or use habitual tools and materials which makes us to transform ways of producing  and expressing ideas. Basically, it means that art today is constantly evolving process so that painting in this process is the way to fix or catch moment in a fraction of a second with no clearness and concrete shape.

In my practice I consider this phenomenon through my own identity as a woman more precisely from the sexuality and national parts of me as Russian and Jewish. 
The main aim of my research is to engender ideas through perception about what means to be a man, living in a mortal body in a vulnerable world.
Each of my painting is a part of the animated movie, series of adjustments with scraped-off colors, until a kind of weight or visual surprise tells me something I have not already known and I will stop. Color is a primary  a tool for negation in my work - the colors that block each other out or contradict each other, and are mixed in an archeologic-dialectic of continual destruction and reconstruction.


I always try to capturing the moment of physical vibration, shaking and fluctuation which such typical for frustration or affectation. 

Sexuality is so crucial to the life process that images of nurturing, germination, driving force, dependence, fertility, defence and defencelessness are all subsumed beneath its umbrella. I am interested in sexuality like a powerful energy which impacts on all aspects of life such as politics, personal, identical and so on.

"Rabbits love"

Rabbits love is about physical act of love as a deceptive expectations and an addiction from this quick emotional feelings as a kind of help from huge pressure and suffocative loneliness. Rabbits are a metaphorical image of people who try to run away from reality to the fictional world of pleasure. Real cuddles as new investments which are invaluable. Nature is a part of the rest  of available entertainment in this poisoned world full of injustices and restrictions. Nature is only one thing where we can fell free and independent. Despite of this fact we are continue destroying earth by insanity consumerism and obeying the most obvious instincts. The black bird is a symbol of freedom and wise although, it is a mark of death is being flew over ground as a wish of destroying a total of prohibitions. A fence reminds a cage as an illusion of impossibility to float like a bird. 

The rabbit becomes bigger and smaller then it duplicates itself as a bacteria. Also, it might be thoughts or connections among animals, plants, human beings and the World Wide Web. 
A disease like poison which is spreading the whole ground but mostly mentally as huge fear.
The queen as a symbol pf strength and belief. The image appears and disappears as a Gif but you can not rid it off from your head as a part of rules, responsibilities, traditions and trying to keep under control emotions and desires.

The video is a kind of confession and relief.

I am not depicting something, I make a feeling or a form, and the edges often create a kind of reading, the way we read
clouds, tree forms or landscape forms. I think form and texture create the mood and the magic of the work. 

The positive thing that I completely found the way how to express my idea through the media. I do animation using digital drawings, photographs and sounds. I mixed images from day by day life with fictional characters or abstract paintings. I use figures of animals like a metaphorical vision of reality and men. I apply layers over each other, therefore creating space of multiple things full of frustrations and anxiety. 

Key themes: frustration, temporality, sexuality and mortality 
Physical process as an only one way for expressing sexual energy and anger. 
Releasing yourself from suffocative pain. 
Pain from the past, from mistakes or controversial decisions of parents which make a humankind's life struggling day by day. 

I am working with contrast aspects: 
Logical, intellectual  approach of life in contrast of impulsive, emotive, passionate character of me. 

Sustainable strive to keep passion under control leads up devastation, disintegration, erosion, collapsed. On the contrary an anarchic passion drives to frustration, feelings of guilty and destruction. 

Fear... Anxiety is pain...
Today is really difficult to find your place. The place where you can feel comfortable and secure. I imagine that we live in the cell like the whole world is a huge capitalistic prison and the cage always becomes smaller and smaller and we begin to feel lack of air as animals in isolation. The cell body where we hide secrets and pain experiences of life. 

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

Cell memory
Cell as a chamber - the area inside a cell, especially a plant cell, defined by the cell membrane or wall; a compartment in a scientific instrument which holds cells or acts as a cell to contain a sample.

Frustration is a sense of me!
I am a frustration!!!

Anxiety is a sense of me!


Rabbits love

Physical process might be a way for expressing sexual energy and anger. Releasing yourself from a suffocative pain.Pain from the past, mistakes or ambiguous decisions which make a humankind's life struggling day by day. I am working with controversial aspects: Logical, intellectual approach of life in contrast of impulsive, emotive, passionate character of me. Sustainable strive to keep passion under control is leading up devastation, disintegration, erosion, collapsed. On the contrary an anarchic passion drives to frustration, feelings of guilty and destruction. Looking straight to own fears is an attempt to devalue fears with rethinking of things in a different way. Devaluation of habitual understanding of things is a kind of defeating oneself. In addition, it might bring a new understanding of a personal marginality in the global capitalistic system.





I think this days speculation  about paradise is such relevant. Due to the restrictions we might have a shortage of spaces for expressing ourselves. Everyone is trying to rethink his place in different kind of realities  depends on dreams, thoughts, personal interests and so on. We all might create a space of our own identity like a personal version haven. Although, we will never be sure in rather safeness of this place. Does this heaven saves from a suffocating loneliness. Today, I am sitting at home in Lockdown I have array of mental conditions a day but I will not have choices to choose a space where I would like to be in this challenging time of  life, work, relax and so on. I have only one space for everything although I can imagine one place in diverse sorts of reality or separate  it at several different parts with various of meanings. Literally, we can imagine proper paradise in our heads and transform it in our reality. 




The aim of my work is to engender ideas through sensation, perceptions about what it is to be human and to live in a mortal body in a vulnerable world. 



The Role of the Arts in Promoting Society 

Just as the arts are an expression of any society’s culture, the culture of this society - conversely - is the mirror and outcome of these arts.



The Impact of the Evolution of Digital Technology on the Arts:

Contemporary art has been greatly influenced by the rapid development in digital technology

The flame of creativity dies out and the tide of inspirational revelation recedes and the building blocks of imagination freeze at the bottom of the artist’s psyche, as they gradually transform into a shallow abstract translation of a constellation of enormous technological capabilities, devoid of any creative substance.

and by the astonishing progression in the introduction of new, more attractive and tougher materials that artists can work with. Both these innovations have expanded horizons of creativity and opened new artistic frontiers. They have also allowed contemporary artists to reduce time spent in the actual execution of artwork to a minimum thereby freeing them to focus more on contemplation, creativity and developing groundbreaking ideas, as well as sound preparation for artwork. 






Using painting trying understand something 

When you look at subject you see another subject










Sex addiction 


Jeanette Batz, in her article “Strung Out on Sex” writes:

It’s not funny. It’s not even erotic. Sexual addiction is an obsessive preoccupation and compulsive acting-out that spirals out of control. It happens not in quest of pleasure but because, somewhere along the line the psyche confused sex with love and the body interpreted a rush of adrenaline as a triumph over fear, loneliness and inadequacy.

Sex addicts aren’t over-sexed, and they’re not people making excuses for deliciously bad behaviour. They’re people without any real intimacy in their lives. The sex is a powerfully addictive substitute because, for a few seconds, it fills the emptiness. And that fleeting comfort keeps them coming back for more.



Confusing sex with Love 

Body interpretation (sex) a rush of adrenaline as a triumph over fear, loneliness and inadequacy. 

Fox as a symbol of fears, strength, shadow, spirit, beliefs, balance, boarders, controlling of things



SEX does not mean LOVE 



No one can gets love from anyone only we can provide love in ourselfs. God inside of everyone. 







From “Robert Rauschenberg An Oral History” 

Edited by Sara Sinclair 


“By 1970, some of the prints he was producing were “conceived to remind us of the love, terror and violence of the last ten years. Danger lies in forgetting.”


Danger lies in forgetting 


“The collage he employed in his print Signs (1970), comprising images of “Janis Joplin, John F. Kennedy, Robert F. Kennedy, American soldiers in Vietnam, an astronaut in space, demonstration scenes, and Martin Luther King Jr. lying in his casket,“ illustrated just how much Rauschenberg had been affected by the previous decade’s social and political reverberations.”









What is the choice?




Baroque trait twists and turns its folds, pushing them to infinity, fold over fold, one upon the other.

First, the Baroque differentiates its folds in two ways, by moving along two infinities, as if infinity were composed of two stages or floors: the pleats of matter, and then organized according to a second type, to the extent its part constituted organs that are “ differently folded and more or less developed.”


A labyrinth corresponds exactly to each level: the continuous labyrinth in matter and its parts, the labyrinth of freedom in the soul and its predicates. 


A correspondence and even a communication between the two levels, between the two labyrinths, between the pleats of matter and the folds in the soul. A fold between the two folds. 


Today I feel myself as a pilot or a bird or an equilibrist who balances between a total of mess in contemporary life  and a level of consciousness in a taking decisions and personal choices. We all today feel responsibility for our choices because an impact after making a decision is always considerable for a multiple in diverse aspects of life.


Matter thus offers an infinitely porous, spongy, or cavernous texture without emptiness, caverns endlessly contained in other caverns: no matter how small, each body contains a world pierced with irregular passages, surrounded and penetrated by an increasingly vaporous fluid, the totality of the universe resembling a “pond of matter in which there exist different flows and waves.”


Multiple is a matter full of porous, spongy and cavernous texture. Caverns endlessly contained in other caverns.





A fox?! A man?! 

I am a man. Do we live in one reality with foxes, birds, ducks and so on or it is a negotiation between people and nature. If folks will be treated with  respect to nature it will be answer the same. 



I am the studio. I try to find a way of expressing my main idea about choices as complex of meaningful and meaningless  things, objects, thoughts, actions. I am feeling extremely focussed on an objective. Although, it is not working. I can not be painted because I am certainly sure that it will not work. I am sitting in my studio, typing this text and I have no idea what am I going to do next. Interestingly, that typing this text I understand that thinking about anything is importantly. Maybe at this moment I feel reality more sensitively. Things engage with each other and me either. We have a dialogue, discourse. We negotiate about rules. I always need more space it looks like I would like to spread over around myself as a spider who is weaving a web. I am not a spider I feel more as a lion or a bird tiny and bright.   





What love is???????



I gather  together references and imagery culled from popular media alongside the work of radical theorists such as Gilles Deleuze and Georges Bataille.


What I am doing?

What is the main purpose and objective?

I am gathering information, everything what hook me everyday. I make an archive from photos, videos, drawings, doodles, conversations, creative speaking. 

I am talking about the process of painting as a part of everyday life. I create a mathematical system full of unrelated threads and strings. It is like a squirrel  which is jumping from tree to tree, from branch to branch or a salmon is rushed for spawning. 


What I am doing what about my art 


Violence, suffers, a mess, identity, sins, poverty, fears, restriction of being free, freedom, tension, passion, release, liberation.


I am a woman I feel pain, I can feeling pain. I am feeling hurt. I can’t see violence everywhere. Previously, usually I have been running out from my feelings and pain. Painting was an act of an atonement more like a sexual act. Recently I knew that I was raped when I was seventeenth it was surprised I have never thought about it in this meaning but at the same time I had felt guilty for my last and I did not know why. I feel guilty for everything I see world as a huge black hole with array of poisonous brightness spots full of disgusting fake (deceptive) beauty. What the Utopia is? Why cemeteries are something mystical and usually unpleasant? What the religion is? Is it always about controlling people and freedom. What is the mess going on in the whole world 


Artist Statement 


programmable material, effected by various social and aesthetic influences




9th of November 


I hung my sketches, notes, drawings on a wall looked at these as process of life. The total of ideas are such different but at the same time their so similar because this is my practice of seeing world to reflect it. This is a psychotherapy, previously I ran out or hide from reality with the help of art now I am different I want to answer questions using art as a trigger for life experience. Where are we, I am not afraid anymore I can speak openly, no matter what happened. I want to be in this chaos of inspiration, patterns, lives between extreme poverty and wealthy, endless fight between women and men, environmental global problems and stupid competition theatre among politic leaders. 


Drawing on a wide range of influences ranging from mathematics and science through to poetry and mythology, Keith Tyson has become known for a highly diverse body of work including drawing, painting, installation and sculpture.  He is interested in how art emerges from the combination of information systems and physical processes that surround us everyday. Through such diverse explorations the artist seeks to locate us in space and time and reflect the complexity of the world we all inhabit.


Tyson sees paint as a programmable material, effected by various social and aesthetic influences. He uses them to cross pollinate text, pictorial language, mathematics, and myths in his paintings. Although he often works in a rule based series, he states that his aim is always that each individual work will eventually become its own universe, with its own rules, beauty and reasons for being.


Computers, coding and maths have always been an inextricable element of Tyson’s life. From taking apart a motherboard as a teenager, to building ‘Art Machine’ early in the 1990’s. The ‘Art Machine’ created algorithm-generated combinations of words and ideas, which Tyson then had to interpret and realise as physical artworks. In his varied approaches to his working, Tyson questions the creation of the artwork itself, positing it as something which can equally be formed by an iterative function, as it can by the artist’s will and inner emotional landscape.




A painting is simply a screen between the producer and the spectator where both can look at the thought processes residing on the screen from different angles and points in time. It enables me to look at the residue of my thinking.

—Katharina Grosse

Gagosian is pleased to present new paintings and sculpture by Katharina Grosse. A prominent figure on the international art circuit, this is her first gallery exhibition in New York and at Gagosian, following a series of significant public commissions in the United States in recent years.

Grosse approaches painting as an experience in immersive subjectivity. With a spray gun, she distances the artistic act from the hand, stylizing gesture as a propulsive mark. The resulting pictures are distinct, but never predetermined. Spatial tensions rise through shifts in chromatic temperature. Challenging boundaries, she reintroduces her body as an active agent within a vision of contemporary existence that is at once physically isolated and densely networked.

Embracing the events and incidents that arise as she paints, Grosse opens up surfaces and spaces to the countless perceptual possibilities of the medium. While she is widely known for her temporary and permanent in situ work, which she paints directly onto architecture, interiors, and landscapes, her approach begins in the studio. With calculated focus, she allows new patterns and procedures in her paintings to emerge from action, further multiplying this potential with stencils cut from cardboard and thick foam rubber—tools with which to develop further cuts, layers, and perspectival depths. Grosse’s gestures unfold all at the same time in unmixed acrylic colors, engulfing the viewer in a toxic sublime.


19th November 


Philip Guston


I’m not sure that I would argue that the public needs a white artist to explain racism to them right now. That, combined with the meager track record that the National Gallery has of showing and engaging artists of color, makes it difficult that one of our first major exhibitions about racism is from a white perspective. 

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