Performative artifacts or traces of compulsive dance. Something acquired to get away from life by actual living, which is always about pain and power. The higher the power, the higher the pain. To be in pain is to be in a process, to be in that particular moment of… To be present and not be able to tear yourself apart from yourself. It’s what can cultivate immanent surveillance and humiliation
(read: formerly punishment).
The key topics of the research were:
notion of birth
in the modern accelerated and heavily militarized world; the management of faith in conflict situations; and the complexity of physical and psychic pain.
Chosen materials can be separated into two groups: ones that are immanently corporeal such as silicone, and leather; and others, whose nature functions through a technological intrusion: metal disks, synthetic fabric, and printer ink.
The main material, which is silicone, is a bodily notion of two: psyche and physic. It’s skin. A protective barrier, but also a frontage. It hides and it shows. The corrosions or scars on the skin is an in-game navigation markers (a round map, a pop-up notification that the bomb has been planted, and available weapon selection) from the Counter-Strike game series. These scars are silent helpers, but also witnesses of military plots and personal strategies of concurring.
The three-part graphic work consists of a mixture between pencil drawings and digital post-touch-ups in Photoshop. Such a formal alliance between natural and technological helps narrow the hierarchy between eternal youth and decay. God and a human. Parent and a child. Object and subject. Something tangible and intangible. And forcefully create a space of coexistence, codependency, correlation.
IN HOPES BUT OFTEN IN A CONTRADICTION.
2021, radiator, hypoallergenic silicone, edited track 'Molotov' by Korol I Shut, varnish, rust, resin, A4 paper, poetic interview, soil, construction clamps, fabric, church wire-system, drawing, oil traces, ceramics, 2 chanel audio-system, sound 06'54"
REQUIEM: LITHIUM BANK Prison castle, Borovsk
2021, soviet period chair from the 'Krasny Oktyabr' cloth factory, mattress fabric, rust, steel, pleated tubes, fragment of a car engine, construction adhesive, timer, human hair, looped sound 12'05"
no use in saying that the split lies as it should should not
so much power is spent on thoughts on physical suffering as it is used to be sailing from one bank to another wishing to bring banks together, to composite
the forces of inhuman nature are present persistent towards man's whims
what is left is to test the spiritual cultivation of oneself to test limits of turbulent physique what is left is to wear the boots out till the bones bringing the banks together as they used to stitch countries up with corpses
layered meat pie with a prune and redberry confiture who would kindly light a candle who would worry about a shame
same mechanism same system terms differ the smell of knees fermented by the waiting for a ferriage another cycle
eternal loop no rejuvenation and was not as well as candles
the shame contradicts the ashes
IL N'Y A DE CAUSE QUE DE CE QUI CLOCHE ISSMAG, Moscow
2020, fragment of a concrete curb, silicone compound, dust, text, hypoallergenic silicone, chair's wheel of metal and plastic
A poetic text created from a mixture of hypoallergenic silicone and silicone compound is seeping through the static body of the concrete object.
Inside each sentence, the Russian words are arranged in a statically cyclic motion. Each sentence contains the right word order but each word is written backward. From left to right. From center to the periphery.
There is no use in a precise translation. The words are not only the words but sounds and movements. However, there is a main thematic notion, which is the repetitive quality of an action placed together with a psyche.
The Russian text from the sculpture:
отч ьталед, илсе ен ьнзиж, а ьтсокташ несед. в тнемом ыдобовс то атипир атенг, ыт керт ьшиватсоп ан типир. и йиннертунв нарит тиварпсар иовс еытсилиж инрок, телокдан йынромарм косив. а ыт есв ежкат нелвонбо и лесев. есв ежкат лесев и ен нелвонбо.