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Holidays
Daria Barybina
April 27 — May 19, 2024
Gallery "Triumph"
Gallery "Triumph"
Barybina’s painterly language appears realistic at first glance, but only superficially: the precision of depiction is combined with fiction and imaginative liberties.
Triumph Gallery presents a solo exhibition by Daria Barybina titled "Holidays." It brings together several series of the artist’s works, opening up the possibility of different points of observation. The paintings are presented alongside sketches made during the preparation for the exhibition.
In her work, Daria seeks to capture everyday life and its incidental characters. She collects ordinary, everyday scenes: familiar locations or situations come into focus, sometimes incorporating surreal and unexpected elements. Barybina’s painterly language appears realistic at first glance, but only superficially: the precision of depiction is combined with fiction and imaginative liberties. Through subject matter, color palette, and technique, the artist questions ways of perceiving reality and the possibilities of representing it.
In her work, Daria seeks to capture everyday life and its incidental characters. She collects ordinary, everyday scenes: familiar locations or situations come into focus, sometimes incorporating surreal and unexpected elements. Barybina’s painterly language appears realistic at first glance, but only superficially: the precision of depiction is combined with fiction and imaginative liberties. Through subject matter, color palette, and technique, the artist questions ways of perceiving reality and the possibilities of representing it.
Triumph Gallery presents a solo exhibition by Daria Barybina titled "Holidays." It brings together several series of the artist’s works, opening up the possibility of different points of observation. The paintings are presented alongside sketches made during the preparation for the exhibition.
In her work, Daria seeks to capture everyday life and its incidental characters. She collects ordinary, everyday scenes: familiar locations or situations come into focus, sometimes incorporating surreal and unexpected elements. Barybina’s painterly language appears realistic at first glance, but only superficially: the precision of depiction is combined with fiction and imaginative liberties. Through subject matter, color palette, and technique, the artist questions ways of perceiving reality and the possibilities of representing it.
In her work, Daria seeks to capture everyday life and its incidental characters. She collects ordinary, everyday scenes: familiar locations or situations come into focus, sometimes incorporating surreal and unexpected elements. Barybina’s painterly language appears realistic at first glance, but only superficially: the precision of depiction is combined with fiction and imaginative liberties. Through subject matter, color palette, and technique, the artist questions ways of perceiving reality and the possibilities of representing it.
Some works in the project include human figures, yet their images lack detail: the faces of the protagonists are indistinguishable, and their poses are fleeting. In the central part of the exhibition, human figures disappear altogether, and the main protagonists become the landscape and individual elements of infrastructure. Daria considers the urban landscape as a random set of color patches, lines, and objects that form their own rhythm and enter into a visual dialogue with one another.
In the final room of the exhibition, the viewer is left alone with spaces that may belong to another reality—whether they are trompe-l'œil illusions or scenes from unsettling dreams. The familiar view of the surrounding world becomes destabilized as it moves away from the human, the natural, and the urban into emptiness. At the center is the question of what is a set, a construction, an addition—and what, if anything, is actually happening, if it can be grasped at all.
Curator: Marina Bobyleva
In the final room of the exhibition, the viewer is left alone with spaces that may belong to another reality—whether they are trompe-l'œil illusions or scenes from unsettling dreams. The familiar view of the surrounding world becomes destabilized as it moves away from the human, the natural, and the urban into emptiness. At the center is the question of what is a set, a construction, an addition—and what, if anything, is actually happening, if it can be grasped at all.
Curator: Marina Bobyleva
Daria Barybina
Before Dawn
2021
Oil on canvas
75 × 120 cm
Before Dawn
2021
Oil on canvas
75 × 120 cm
Daria Barybina
Before Dawn
2021
Oil on canvas
75 × 120 cm
Before Dawn
2021
Oil on canvas
75 × 120 cm
Some works in the project include human figures, yet their images lack detail: the faces of the protagonists are indistinguishable, and their poses are fleeting. In the central part of the exhibition, human figures disappear altogether, and the main protagonists become the landscape and individual elements of infrastructure. Daria considers the urban landscape as a random set of color patches, lines, and objects that form their own rhythm and enter into a visual dialogue with one another.
In the final room of the exhibition, the viewer is left alone with spaces that may belong to another reality—whether they are trompe-l'œil illusions or scenes from unsettling dreams. The familiar view of the surrounding world becomes destabilized as it moves away from the human, the natural, and the urban into emptiness. At the center is the question of what is a set, a construction, an addition—and what, if anything, is actually happening, if it can be grasped at all.
Curator: Marina Bobyleva
In the final room of the exhibition, the viewer is left alone with spaces that may belong to another reality—whether they are trompe-l'œil illusions or scenes from unsettling dreams. The familiar view of the surrounding world becomes destabilized as it moves away from the human, the natural, and the urban into emptiness. At the center is the question of what is a set, a construction, an addition—and what, if anything, is actually happening, if it can be grasped at all.
Curator: Marina Bobyleva
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