The central theme of the exhibition is the rethinking of the cultural landscape and the decentralization of artistic practices in Russia at a moment when the world stopped, and the usual flow of life was disrupted. This slowdown allowed us to thoughtfully turn to the theme of handmade and labor-intensive artistic techniques and to seek discoveries within ourselves and within the country.
In his practice, Vladimir Chernychev delves into a nomadic exploration of traditional culture. The subjects of his works reference several barely recognizable mythological elements: arch, stars, shadow, rainbow, butterfly, and flame. These symbols are mainly associated with the sensations derived from old book illustrations, chemical treatises, early naive images, whose interpretation is crucial for the artist to carry out independently. They hint at recognizable archetypal images that exist across different cultures. The new series of works narrates impossible natural phenomena, temporal states, and the shadows of things. In his works, Chernychev addresses materials that constantly change their aggregate states — flowing, solidifying, and living their own lives like tar, rosin, and clay.
Ustina Yakovleva invites us to immerse ourselves in reflections and nature, in the ever-changing landscape of the Russian North, from where her family hails. Her artistic practice revolves around the magical landscapes of the Russian North, contemplating silence and solitude. Her view of nature is a meditative process of coexistence with flora and fauna. The craft of ancient Russian traditions, especially vividly manifested in Yakovleva's works with elements of embroidery, beads, and pearls, is deceptively simple. Here, contemporary art and decorative applied arts become one. In Ustina’s rhythmic works, there are many semi-familiar forms resonating with nature. Her works become intermediaries for dialogue with the desolate yet enchanting landscape of the Russian hinterland.
Traveling through these nature-inspired spaces, offering dreamlike scenarios of possible future existence, we are reminded that we have the capacity to reshape our reality, step off the familiar path, and head into the welcoming shadow of the landscape.
In his practice, Vladimir Chernychev delves into a nomadic exploration of traditional culture. The subjects of his works reference several barely recognizable mythological elements: arch, stars, shadow, rainbow, butterfly, and flame. These symbols are mainly associated with the sensations derived from old book illustrations, chemical treatises, early naive images, whose interpretation is crucial for the artist to carry out independently. They hint at recognizable archetypal images that exist across different cultures. The new series of works narrates impossible natural phenomena, temporal states, and the shadows of things. In his works, Chernychev addresses materials that constantly change their aggregate states — flowing, solidifying, and living their own lives like tar, rosin, and clay.
Ustina Yakovleva invites us to immerse ourselves in reflections and nature, in the ever-changing landscape of the Russian North, from where her family hails. Her artistic practice revolves around the magical landscapes of the Russian North, contemplating silence and solitude. Her view of nature is a meditative process of coexistence with flora and fauna. The craft of ancient Russian traditions, especially vividly manifested in Yakovleva's works with elements of embroidery, beads, and pearls, is deceptively simple. Here, contemporary art and decorative applied arts become one. In Ustina’s rhythmic works, there are many semi-familiar forms resonating with nature. Her works become intermediaries for dialogue with the desolate yet enchanting landscape of the Russian hinterland.
Traveling through these nature-inspired spaces, offering dreamlike scenarios of possible future existence, we are reminded that we have the capacity to reshape our reality, step off the familiar path, and head into the welcoming shadow of the landscape.
