In her new project Entrance into the Void, Evgenia Voronova approaches the notion of emptiness not as a category of absence, but as a point of departure—beyond which a space unfolds that can be filled. Entrance into the Void is an attempt to visualize what is inaccessible to the eye and to give material form to what can only be felt emotionally.

Emptiness in Voronova’s works takes on many different forms: a vibrating abstract mass resembling a digital glitch; an impenetrable, gaping darkness concealed behind doorways; and, ultimately, absent, as if burned-out fragments of canvas that suggest only in outline what they once were before disappearing.

Двор II

In her new project Entrance into the Void, Evgenia Voronova approaches the notion of emptiness not as a category of absence, but as a point of departure—beyond which a space unfolds that can be filled. Entrance into the Void is an attempt to visualize what is inaccessible to the eye and to give material form to what can only be felt emotionally.

Emptiness in Voronova’s works takes on many different forms: a vibrating abstract mass resembling a digital glitch; an impenetrable, gaping darkness concealed behind doorways; and, ultimately, absent, as if burned-out fragments of canvas that suggest only in outline what they once were before disappearing.

The main protagonists of the works are familiar objects that people use to fill empty space—a chair, a potted plant, a beloved pet. Or rather, their silhouettes, filled with the same digital glitch. The artist strips them of their usual function, turning them into ghosts that retain their outlines but lose their substance—forms that may soon disappear from reality altogether. By transforming figures and objects on the canvas into visual noise, Evgenia raises the question of what is more real: the objects themselves or merely our perceptions of them.

Voronova’s canvases are complemented by musical compositions by Russian pianist and composer Gleb Andrianov. In the two pieces presented in the exhibition, he reflects on possible modes of perceiving reality and works with multilayered orchestral forms.

"When I saw [Evgenia Voronova’s] works, I immediately understood how I hear them and what I wanted to do—to take my music for string orchestra and dissect it. I decided to alter the original linear flow of the material and present it in a different dimension and state," says Gleb Andrianov.

Curator: Polina Mogilina

Двор II

"When I saw [Evgenia Voronova’s] works, I immediately understood how I hear them and what I wanted to do—to take my music for string orchestra and dissect it. I decided to alter the original linear flow of the material and present it in a different dimension and state," says Gleb Andrianov.

Curator: Polina Mogilina