Together
2023
site-specific interdisciplinary project
In this project I continue my reflection on the nature of time and its cycles
The project began in 2020. A trip to the village of Krasino-Uberezhnoye in the Tula region was the starting point, initiating a process of observation of the place that continued for several years. Periodically returning here and documenting landscapes and buildings, I focused my attention on two differently meaningful spaces that became permanent objects of my observation — a ruined Trinity Church building and an old 19th century house connected by a road from one end of the village to the other.
A variant of my interaction with the spaces under investigation was the recording of their surfaces exposed to time and other factors. Often from an optical perception to a tactile one. In this way, the surface became a space of communication and dialog with the place through reflection on notions of disappearance, destruction, and preservation and reconstruction. I was also interested in how different variants of temporality were reflected in different spaces depending on their purpose.
In this project I continue my reflection on the nature of time and its cycles
The project began in 2020. A trip to the village of Krasino-Uberezhnoye in the Tula region was the starting point, initiating a process of observation of the place that continued for several years. Periodically returning here and documenting landscapes and buildings, I focused my attention on two differently meaningful spaces that became permanent objects of my observation — a ruined Trinity Church building and an old 19th century house connected by a road from one end of the village to the other.
A variant of my interaction with the spaces under investigation was the recording of their surfaces exposed to time and other factors. Often from an optical perception to a tactile one. In this way, the surface became a space of communication and dialog with the place through reflection on notions of disappearance, destruction, and preservation and reconstruction. I was also interested in how different variants of temporality were reflected in different spaces depending on their purpose.
The spaces under study were also important as a place for modeling performative situations accompanied by the creation of site-specific installations.
In each of them a separate installation part of the project was realized. The ruined temple building and the house reflected different temporalities through the images and objects used. In the first part, these were two large candles made of paraffin wax with brick dust and pieces of plaster with texts drawn in pencil on their surface.
In the second part, the space of the house was metaphorically divided into three parts corresponding to three categories of time, each represented by one of the floors and the garden. The house itself became a total installation, for which both found objects and objects made especially for the project, including those made from local clay, were used.
In each of them a separate installation part of the project was realized. The ruined temple building and the house reflected different temporalities through the images and objects used. In the first part, these were two large candles made of paraffin wax with brick dust and pieces of plaster with texts drawn in pencil on their surface.
In the second part, the space of the house was metaphorically divided into three parts corresponding to three categories of time, each represented by one of the floors and the garden. The house itself became a total installation, for which both found objects and objects made especially for the project, including those made from local clay, were used.
In the project, the duality of animate/inanimate is leveled, the binary apposition is replaced by a dialog with the place and its materiality.
The project is documented through photos, videos, risographs, silkscreens and an artist’s book.
The project is documented through photos, videos, risographs, silkscreens and an artist’s book.
