It is important to note the events that took place in parallel with everything that has already been described during the course.
Exhibitions
Two exhibitions open in February.
One with an established artist in Munich.
And one solo exhibition in Luxembourg.
The whole organization of this process was passed. Selection of works, agreement of the contract, packing of works for transportation, coordination of information materials, participation in the hanging of works, etc.
Unfortunately, not only positive experiences came from these events. A lot of feedback was received on my work, which gave me an impetus to further improve the work and processes.
There will also be public discussions about my art in April in Luxembourg.
This kind of exhibition experience puts the artist in front of the question of to what extent one can listen to the gallery and clients in order to change art and for what.
Frames for works
The biggest concern was regarding the fragility of my work.
Since this is the second time, I had to continue looking for a solution to reinforce the material and create frames.
I wanted to stay completely eco-friendly like all my materials, so I approached several locksmiths about recycling old materials to create custom frames.
I didn't know it was so hard to find people who want to sell a product. After five different organizations and discussing all the details of the order with them, and till now still I do not have a permanent supplier.
New material for the works
But I had hope for a new solution that I found online in the Netherlands. Intentionally, I do not want to give all the details about the solution and the method of work. According to the manufacturer, this water-based material is absolutely safe for the environment. It protects against UV rays and has good rain resistance. This material can be used as a paste or sprayed onto finished products.
After several different attempts to apply this material, I think I have found a solution. The material around the edges of my artwork is now much firmer. I am currently testing this technique on large formats.
Collaborations
In addition, after working together with OCA students, we began to wonder where this process could go next. They are photographers, for example, I am a sculptor, how can we present our work? How does photography relate to sculpture? And how can we interact at a distance?
Besides, this experience gave me an impulse to the consideration of my work in conjunction with other artists.
Together with another Russian artist (https://www.instagram.com/p/CpR-ULgA9CE/?utm_source=ig_web_copy_link), we have developed a project to combine my installation and her photographs, considering issues of propaganda, breaking relationships, physical and mental pain, remorse and compassion.
With this project, we are submitting applications for the exhibition.
At the moment there is an incredibly suitable place for this. The seller in which we need to bring all the Russians and show them an exhibition there.
Our idea is to combine photography with sculptural relief. Give volume to a flat image and translate the emotions of this person into tactile colour fields.
At the entrance to the room, such portraits will hang on the walls, and one of them will be with a mirror surface.
On one side of the exhibition space, audio interviews of Ukrainian refugees who survived the bombings and other unthinkable stories will be played. On the opposite side, the sound of the news from the first Russian channel will be reproduced in the same tone.
This overlay of real stories should cause dissonance in the viewer. On a sensual level, cause discomfort and anxiety about what is happening.
Silent critique
I attended an OCA-organised session on the Silent Critic. One of my artworks received feedback from students and a tutor. My work was shown and there was only a description of the materials, name and size.
At first, it was difficult to convey the effect of colour change through photographs. The audience did not understand how it works. The most important conclusion for me was that the audience perceives and reads what I embodied in the artwork. Increased sensitivity to the material - everyone had the desire to touch this work. Exquisite play of colour, and complex and long work with each of the folds. For further development there were comments - to make a large format, to make three-dimensional figures from this technique, which I am already working on...
Commissioned works
During this time, several corporate projects have been developed. A company working with environmentally friendly products and supporting animal welfare funds around the world asked me to design their logo.
Our beliefs regarding the production and use of environmentally friendly materials are aligned.
Therefore, the work from recycled newspapers not only reflects the figurative logo of the company but also conceptually supports the environment through the work with the eco-artist.
I made sketches.
Made a mockup in Photoshop.
And brought it onto the canvas.
Additionally, a project for another commission was also developed and completed.
Here I had to prepare a colour sample and "try on" the size of the work directly on the spot.
Working process: https://youtube.com/shorts/urykrE2T7_I?feature=share
Human, 2023, recycled newspapers, acrylic, water-based fixatives, plaster on canvas, 130 x 248 x 12 cm.
Final work:
All of the above was in addition to my learning process. Some things in one way or another influenced the deadlines for the implementation of tasks, as well as helped or supplemented my creative process.
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