Liudmila Konstantinova
«This is not abstract art»
December 9 2015 – January 20 2016

Trianle Gallery is pleased to announce a new personal exhibition of Liudmila Konstantinova (b. 1980, lives and works in Moscow).

Liudmila Konstantinova (b.1980 lives and works in Moscow) is a master of geometric abstraction with elements of Russian avant-garde aesthetics. In fact, she cleverly uses various artistic forms, from conceptualism to suprematism, drawing inspiration from different historical periods and the history of arts such as Soviet totalitarianism or the New Wave of the 1980s. Plucked out of context, these quotations are used in an ironic discourse with a delicately bitter taste and hints that are camouflaged in misty associations.

The series "This Is Not Abstract Art" may look minimalistic at first sight, but a closer look will reveal the ornamental nature of these works. You will suddenly see an exaggerated reproduction of a crumpled paper, the facets of a jewel, the play of light on water, or ghostlike shadows on a house wall lighted by the sun. The title of this series reminds you of the Dadaist rejection, the anti-art principle of absurdism, which logically becomes the artist's play with the viewer.

In substantive terms, Liudmila Konstantinova depicts the transient, the border state of things, something which the human eye can see once but never twice. It is this interim state in the interaction of two conditions of an object (smooth paper – cramped paper) that she is painting. This brings to mind l'inframince, a mysterious concept of the super-thin that was formulated by Marcel Duchamp to catch the transitional state of an object – a wrinkled shirt after it came into contact with the body, or the moment when smoke touches the throat. Duchamp conceptualized this process and gave an existential status to the transient moment, while Konstantinova is playing a different game with the viewer: she paints the moment of transition in pure colors and gives it a streamlined structure. As she said, it's her experience of interacting with chaos, from which she singles out a decoy scheme where a smart eye will see something painfully familiar.

Liudmila Konstantinova gives transient objects an aesthetic value. She does this through mathematically precise lines and a combination of pure colors. Sometimes her abstractions grow from flatness into a visible shape, as in the case of the sculpture called Rockfall. These colorful abstractions are not at all abstract; they are the transient in the process of artistic mimicry into a bright wrapper. And inside this wrapper is anything you will choose to place.