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Ekaterina Gerasimenko
October 16 — November 19, 2020
Triumph gallery
Triumph gallery
Ekaterina does not paint people: she is more interested in the locations that they occupy and inhabit, the objects that we use to populate spaces, the things that produce monotony.
Triumph gallery presents the first solo show by Ekaterina Gerasimenko, Interferences. The exhibition is organized as part of the Launchpad program run by the gallery for support of young art.
Ekaterina Gerasimenko works in several media, experimenting with painting and sculpture. Ekaterina does not paint people: she is more interested in the locations that they occupy and inhabit, the objects that we use to populate spaces, the things that produce monotony. The artist says that mundane details and habitual places, which she depicts, are none other than a projection of its inhabitants' subconscious:
Ekaterina Gerasimenko works in several media, experimenting with painting and sculpture. Ekaterina does not paint people: she is more interested in the locations that they occupy and inhabit, the objects that we use to populate spaces, the things that produce monotony. The artist says that mundane details and habitual places, which she depicts, are none other than a projection of its inhabitants' subconscious:
Triumph gallery presents the first solo show by Ekaterina Gerasimenko, Interferences. The exhibition is organized as part of the Launchpad program run by the gallery for support of young art.
Ekaterina Gerasimenko works in several media, experimenting with painting and sculpture. Ekaterina does not paint people: she is more interested in the locations that they occupy and inhabit, the objects that we use to populate spaces, the things that produce monotony. The artist says that mundane details and habitual places, which she depicts, are none other than a projection of its inhabitants' subconscious:
Ekaterina Gerasimenko works in several media, experimenting with painting and sculpture. Ekaterina does not paint people: she is more interested in the locations that they occupy and inhabit, the objects that we use to populate spaces, the things that produce monotony. The artist says that mundane details and habitual places, which she depicts, are none other than a projection of its inhabitants' subconscious:
I tend to bypass people and turn to the spaces they live in and to the things they interact with—these are stories that happen behind the scenes, personal experiences expressed through purposefully basic, mundane objects.
Yet, the locations and narratives in Ekaterina’s paintings are not exact photographic depictions—they invariably possess something mysterious, strange, alien to the portrayed environment. Be that a garden sculpture of a lion hiding behind a metal barrier in a dimly lit room, or a desolate posh upholstered chair in a park, drawing the eye of a stray dog as well as the viewer. Each narrative is quietly permeated with some interference that bridges the reality with something that only mimics reality.
Yet, the locations and narratives in Ekaterina’s paintings are not exact photographic depictions—they invariably possess something mysterious, strange, alien to the portrayed environment. Be that a garden sculpture of a lion hiding behind a metal barrier in a dimly lit room, or a desolate posh upholstered chair in a park, drawing the eye of a stray dog as well as the viewer. Each narrative is quietly permeated with some interference that bridges the reality with something that only mimics reality.
I tend to bypass people and turn to the spaces they live in and to the things they interact with—these are stories that happen behind the scenes, personal experiences expressed through purposefully basic, mundane objects.
Yet, the locations and narratives in Ekaterina’s paintings are not exact photographic depictions—they invariably possess something mysterious, strange, alien to the portrayed environment. Be that a garden sculpture of a lion hiding behind a metal barrier in a dimly lit room, or a desolate posh upholstered chair in a park, drawing the eye of a stray dog as well as the viewer. Each narrative is quietly permeated with some interference that bridges the reality with something that only mimics reality.
Yet, the locations and narratives in Ekaterina’s paintings are not exact photographic depictions—they invariably possess something mysterious, strange, alien to the portrayed environment. Be that a garden sculpture of a lion hiding behind a metal barrier in a dimly lit room, or a desolate posh upholstered chair in a park, drawing the eye of a stray dog as well as the viewer. Each narrative is quietly permeated with some interference that bridges the reality with something that only mimics reality.
Exploration of space combined with artistic conceptualization and interpretation of the homely ultimately reveal a huge cultural and psychological dimension. Through examination of topoi, the artist analyzes the images that originate as outward, world-facing projections of the human psyche. This observer’s point of view, used in her representations of locations and things on canvas, involve the audience into the exploration too.
Select the date and that time that suit you best. Note that the number of visitors is limited. For your convenience, book the visit ahead of time. You can cancel your booking at info@truimph-gallery.ru or +7 (495) 162-08-93.
Curator: Marina Bobyleva, Irina Litvyakova
Select the date and that time that suit you best. Note that the number of visitors is limited. For your convenience, book the visit ahead of time. You can cancel your booking at info@truimph-gallery.ru or +7 (495) 162-08-93.
Curator: Marina Bobyleva, Irina Litvyakova
From the "Interference" series
2020
Baked clay, painting, glaze
8 × 18 × 15 cm
2020
Baked clay, painting, glaze
8 × 18 × 15 cm
From the "Interference" series
2020
Baked clay, painting, glaze
8 × 18 × 15 cm
2020
Baked clay, painting, glaze
8 × 18 × 15 cm
Exploration of space combined with artistic conceptualization and interpretation of the homely ultimately reveal a huge cultural and psychological dimension. Through examination of topoi, the artist analyzes the images that originate as outward, world-facing projections of the human psyche. This observer’s point of view, used in her representations of locations and things on canvas, involve the audience into the exploration too.
Select the date and that time that suit you best. Note that the number of visitors is limited. For your convenience, book the visit ahead of time. You can cancel your booking at info@truimph-gallery.ru or +7 (495) 162-08-93.
Curator: Marina Bobyleva, Irina Litvyakova
Select the date and that time that suit you best. Note that the number of visitors is limited. For your convenience, book the visit ahead of time. You can cancel your booking at info@truimph-gallery.ru or +7 (495) 162-08-93.
Curator: Marina Bobyleva, Irina Litvyakova
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