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Game
Maria Efremenko
August 19 — October 7, 2023
Triumph Gallery
Triumph Gallery
Small objects made of thin, semi-translucent porcelain invite the viewer to engage in a game: their simple, laconic forms can resemble almost anything—or, on the contrary, exist as self-sufficient objects that elude definition.
Triumph Gallery presents Game, a solo exhibition by Maria Efremenko.
Small objects made of thin, semi-translucent porcelain invite the viewer to engage in a game: their simple, laconic forms can resemble almost anything—or, on the contrary, exist as self-sufficient objects that elude definition. The fragility of the form shapes both the process of play and its possible conclusion: the delicate material carries within it the latent possibility of breaking, at which point the game comes to an end.
Small objects made of thin, semi-translucent porcelain invite the viewer to engage in a game: their simple, laconic forms can resemble almost anything—or, on the contrary, exist as self-sufficient objects that elude definition. The fragility of the form shapes both the process of play and its possible conclusion: the delicate material carries within it the latent possibility of breaking, at which point the game comes to an end.
Triumph Gallery presents Game, a solo exhibition by Maria Efremenko.
Small objects made of thin, semi-translucent porcelain invite the viewer to engage in a game: their simple, laconic forms can resemble almost anything—or, on the contrary, exist as self-sufficient objects that elude definition. The fragility of the form shapes both the process of play and its possible conclusion: the delicate material carries within it the latent possibility of breaking, at which point the game comes to an end.
Small objects made of thin, semi-translucent porcelain invite the viewer to engage in a game: their simple, laconic forms can resemble almost anything—or, on the contrary, exist as self-sufficient objects that elude definition. The fragility of the form shapes both the process of play and its possible conclusion: the delicate material carries within it the latent possibility of breaking, at which point the game comes to an end.
In Maria Efremenko’s works, white predominates, associated with the desire to create a pure form that does not impose a fixed interpretation on the viewer but instead invites dialogue. Black functions as a form of "grounding," necessary to fully reveal and balance the white. Objects rendered in blue echo the color of the sky and symbolize a departure beyond the limits of imagination, a creative ascent, and a connection between the world of ideas, the man-made environment, and nature.
Alongside the lightness and freedom of form, Efremenko’s objects are also characterized by a sense of order, structure, combination, and balance. It is no coincidence that each set of her sculptures is arranged according to the artist’s intent. A departure from rules becomes a rule in itself, giving the exhibition its open and flexible form.
Alongside the lightness and freedom of form, Efremenko’s objects are also characterized by a sense of order, structure, combination, and balance. It is no coincidence that each set of her sculptures is arranged according to the artist’s intent. A departure from rules becomes a rule in itself, giving the exhibition its open and flexible form.
In Maria Efremenko’s works, white predominates, associated with the desire to create a pure form that does not impose a fixed interpretation on the viewer but instead invites dialogue. Black functions as a form of "grounding," necessary to fully reveal and balance the white. Objects rendered in blue echo the color of the sky and symbolize a departure beyond the limits of imagination, a creative ascent, and a connection between the world of ideas, the man-made environment, and nature.
Alongside the lightness and freedom of form, Efremenko’s objects are also characterized by a sense of order, structure, combination, and balance. It is no coincidence that each set of her sculptures is arranged according to the artist’s intent. A departure from rules becomes a rule in itself, giving the exhibition its open and flexible form.
Alongside the lightness and freedom of form, Efremenko’s objects are also characterized by a sense of order, structure, combination, and balance. It is no coincidence that each set of her sculptures is arranged according to the artist’s intent. A departure from rules becomes a rule in itself, giving the exhibition its open and flexible form.
"By interacting with Maria Efremenko’s objects, the viewer not only becomes an equal participant in the artistic process and a character within the artist’s mythology, but is also free to create their own mythology, their own game and its rules—to reflect on both simple and complex questions, not necessarily arriving at answers, but inevitably outlining the directions of their thought and imagination," says the project’s curator, Artur Knyazev.
"By interacting with Maria Efremenko’s objects, the viewer not only becomes an equal participant in the artistic process and a character within the artist’s mythology, but is also free to create their own mythology, their own game and its rules—to reflect on both simple and complex questions, not necessarily arriving at answers, but inevitably outlining the directions of their thought and imagination," says the project’s curator, Artur Knyazev.
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