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Motion Picture
Katya Shcheglova
April 28 — May 28, 2023
Triumph Gallery
Triumph Gallery
In the artist’s works, scenes случайно observed from real life are combined with imagery from well-known films, becoming parts of a self-contained narrative.
Triumph Gallery presents Motion Picture, a solo exhibition by Katya Shcheglova. In her works, casually observed scenes from real life merge with imagery from well-known films, becoming parts of a self-contained narrative.
In her practice, Shcheglova turns to the genre of portraiture, which, however, does not aim to become a psychological depiction of a specific individual. The starting point for the artist is the human face and its details. Her works resemble photographs or fragments of video footage: faces are enlarged, and the composition is constructed like a digital collage. Shcheglova appears to observe reality through a camera lens—"framing" it, selecting unexpected fragments and details, using overlays and shifts, or duplicating individual elements—all of which gives the paintings a rhythm akin to the sequencing of frames in film.
In her practice, Shcheglova turns to the genre of portraiture, which, however, does not aim to become a psychological depiction of a specific individual. The starting point for the artist is the human face and its details. Her works resemble photographs or fragments of video footage: faces are enlarged, and the composition is constructed like a digital collage. Shcheglova appears to observe reality through a camera lens—"framing" it, selecting unexpected fragments and details, using overlays and shifts, or duplicating individual elements—all of which gives the paintings a rhythm akin to the sequencing of frames in film.
Blue Is the Warmest Color 1
2023
Canvas, oil
150×200 cm
2023
Canvas, oil
150×200 cm
Blue Is the Warmest Color 1
2023
Canvas, oil
150×200 cm
2023
Canvas, oil
150×200 cm
Triumph Gallery presents Motion Picture, a solo exhibition by Katya Shcheglova. In her works, casually observed scenes from real life merge with imagery from well-known films, becoming parts of a self-contained narrative.
In her practice, Shcheglova turns to the genre of portraiture, which, however, does not aim to become a psychological depiction of a specific individual. The starting point for the artist is the human face and its details. Her works resemble photographs or fragments of video footage: faces are enlarged, and the composition is constructed like a digital collage. Shcheglova appears to observe reality through a camera lens—"framing" it, selecting unexpected fragments and details, using overlays and shifts, or duplicating individual elements—all of which gives the paintings a rhythm akin to the sequencing of frames in film.
In her practice, Shcheglova turns to the genre of portraiture, which, however, does not aim to become a psychological depiction of a specific individual. The starting point for the artist is the human face and its details. Her works resemble photographs or fragments of video footage: faces are enlarged, and the composition is constructed like a digital collage. Shcheglova appears to observe reality through a camera lens—"framing" it, selecting unexpected fragments and details, using overlays and shifts, or duplicating individual elements—all of which gives the paintings a rhythm akin to the sequencing of frames in film.
Most of Shcheglova’s works are executed on large-scale canvases or combined into polyptychs. This format becomes a way of shifting from perceiving a painting as a two-dimensional image to experiencing it as a three-dimensional object. By arranging large, multi-part canvases within the exhibition, the artist redirects the viewer’s focus toward perceiving the works as objects that occupy space and acquire volume.
In the Motion Picture series, photographs of people encountered in everyday life are combined with frames from films. Extracted from both daily reality and cinema, these fragments become parts of a nonexistent film—one that attempts to capture reality while simultaneously moving far away from it.
Curator: Marina Bobyleva
In the Motion Picture series, photographs of people encountered in everyday life are combined with frames from films. Extracted from both daily reality and cinema, these fragments become parts of a nonexistent film—one that attempts to capture reality while simultaneously moving far away from it.
Curator: Marina Bobyleva
Most of Shcheglova’s works are executed on large-scale canvases or combined into polyptychs. This format becomes a way of shifting from perceiving a painting as a two-dimensional image to experiencing it as a three-dimensional object. By arranging large, multi-part canvases within the exhibition, the artist redirects the viewer’s focus toward perceiving the works as objects that occupy space and acquire volume.
In the Motion Picture series, photographs of people encountered in everyday life are combined with frames from films. Extracted from both daily reality and cinema, these fragments become parts of a nonexistent film—one that attempts to capture reality while simultaneously moving far away from it.
Curator: Marina Bobyleva
In the Motion Picture series, photographs of people encountered in everyday life are combined with frames from films. Extracted from both daily reality and cinema, these fragments become parts of a nonexistent film—one that attempts to capture reality while simultaneously moving far away from it.
Curator: Marina Bobyleva
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