Happy End Trailer
Eva Arakcheeva
Eva Arakcheeva
January 23 – April 12 2024
Triangle Gallery is pleased to announce Happy End Trailer, the first personal exhibition of paintings by Eva Arakcheeva (born 1989, lives and works in Moscow, Russia). Opening reception January 23 at 19:00. Through April 12, 2024.
A flash of lightning in a stormy sky. Seconds before the thunder, universes flash through your mind, emotions change, from horror to admiration for beauty. Eva Arakcheeva invents the concept of derealism - the artist deconstructs the style, divides it into components, and then reassembles it in her own way. This is how a curious child or an adult researcher takes an object apart to find out how it works. You can remove the cover, wipe off the dust from the gears and swap them so that the mechanism would work differently.
Visualy the works remain figurative painting, but the images and subjects seem to elude interpretation and force one to seek interpretations. It seems that we recognize a scene from a thriller, a screenshot of a computer game, or a photo of a natural anomaly. Imperceptibly we find ourselves drawn deep into and beyond the boundaries of the canvases, into galleries of associations. This is how the work of conceptual painting can be described - it serves as an entry point into an intellectual journey that opens up new perspectives on the most important categories: the visible, the depicted, the obvious and the imaginary.
Rethinking art also requires an updated vision, today, when we trust our own eyes less and less, and contradictory images of reality compete for our attention. An important source of inspiration for Eva is cinema, especially the films of Lynch and Cronenberg. Mysterious, hypnotizing art creates illusions and, at the same time, exposes the illusory nature of everything that seemed understandable. Modern science tells of the plurality of worlds and nonlinear space-time. The artist's imaginary teachers from Kandinsky and Malevich to John Danna and Michael Borremans can be gathered under the author's term derealism.
Dissimilar artists find different loopholes away from reality, create universes or strangely refract our dimension. The usual appearance is shifted, stratified and no longer seems so familiar. The entire spectrum of references and meanings, like with a prism, is collected into a strict artistic style. A hazy shades hide a bright palette: the artist applies thin layers of complementary colors one after another, achieving a deep, shimmering gray. The atmosphere of suspense outside of time and place thickens on the canvas. Formal techniques become conceptual. A flash or lightning discharge serve as a bright contrast and interpret Kandinsky's principle of line and point in their own way. At the same time, they attract the eye as an image of an imminent threat. Or maybe this is a glimmer of hope in the depressive twilight. As an open ending, the viewer is given freedom of interpretation and an invitation to be a co-author, to reflect before the horizon of opening worlds. One minute before the storm.
Alexander Merekin
A flash of lightning in a stormy sky. Seconds before the thunder, universes flash through your mind, emotions change, from horror to admiration for beauty. Eva Arakcheeva invents the concept of derealism - the artist deconstructs the style, divides it into components, and then reassembles it in her own way. This is how a curious child or an adult researcher takes an object apart to find out how it works. You can remove the cover, wipe off the dust from the gears and swap them so that the mechanism would work differently.
Visualy the works remain figurative painting, but the images and subjects seem to elude interpretation and force one to seek interpretations. It seems that we recognize a scene from a thriller, a screenshot of a computer game, or a photo of a natural anomaly. Imperceptibly we find ourselves drawn deep into and beyond the boundaries of the canvases, into galleries of associations. This is how the work of conceptual painting can be described - it serves as an entry point into an intellectual journey that opens up new perspectives on the most important categories: the visible, the depicted, the obvious and the imaginary.
Rethinking art also requires an updated vision, today, when we trust our own eyes less and less, and contradictory images of reality compete for our attention. An important source of inspiration for Eva is cinema, especially the films of Lynch and Cronenberg. Mysterious, hypnotizing art creates illusions and, at the same time, exposes the illusory nature of everything that seemed understandable. Modern science tells of the plurality of worlds and nonlinear space-time. The artist's imaginary teachers from Kandinsky and Malevich to John Danna and Michael Borremans can be gathered under the author's term derealism.
Dissimilar artists find different loopholes away from reality, create universes or strangely refract our dimension. The usual appearance is shifted, stratified and no longer seems so familiar. The entire spectrum of references and meanings, like with a prism, is collected into a strict artistic style. A hazy shades hide a bright palette: the artist applies thin layers of complementary colors one after another, achieving a deep, shimmering gray. The atmosphere of suspense outside of time and place thickens on the canvas. Formal techniques become conceptual. A flash or lightning discharge serve as a bright contrast and interpret Kandinsky's principle of line and point in their own way. At the same time, they attract the eye as an image of an imminent threat. Or maybe this is a glimmer of hope in the depressive twilight. As an open ending, the viewer is given freedom of interpretation and an invitation to be a co-author, to reflect before the horizon of opening worlds. One minute before the storm.
Alexander Merekin