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Elena Romanovskaya

Here's to you, grandma and St. George's Day

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Elena Romanovskaya

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Here's to you, grandma and St. George's Day by Elena Romanovskaya
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Here's to you, grandma and St. George's Day

by

Elena Romanovskaya

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$ 1,500

Overview

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2022

Acrylic on canvas

Unique Work

Dimensions: 88cm (H) x 64cm (W) x 2cm (D) / 34.6" (H) x 25.2" (W) x 0.8" (D)

Note: Actual colours may vary due to photography & computer settings.

Artist Statement

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The abolition of the "exit" meant that the peasants had to stay with their landlord for life. So they took away the last opportunity to change the owner and try to improve their lives. During this period, the saying “Here's to you, grandmother, and St. George's Day!” Appeared, which means regret about unfulfilled hopes.

But now, we are all free and this phraseological unit is revealed in my art in a new interpretation, which is filled with humor and a source of village life.

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Artist Profile

Born: 1989

Hometown: Nalchik

Based in: Nalchik

I was born in the Caucasus, in the small town of Nalchik, this is the South of Russia.
I have been painting since 2008. I have a lot of experience in exhibitions. My favorite material is acrylic.

As an artist, I am interested in the space of play that arises between my art and the viewer. There are no winners or losers in this game, but there is excitement in it and going “beyond” — to where I create my worlds and invite you on a journey through them. This game is not so much entertaining as it immerses you in the moments of life.
My “tools” are genre intensity and inflamed color, which I “pick up” from the expressionists.
I was born and raised in Nalchik, the symbiosis of Russianness and the Caucasus influenced my artistic development. Therefore, through my work, I acquaint the viewer with the plots
from the life of different nations and try to synthesize different cultural contexts.
There is always some kind of “funny” in my works, they contain the mechanism of estrangement — a shift in perception, when the works are built as a kind of attraction. After all, if the “systems” in which we are all “soldered” work well, everything that happens in them is predictable and there is no place for a new place. New meaning can only arise from what is meaningless! Hence, the key role in my work is given to non-systemic: absurdity, breakdowns, accidents: the better different “systems” work, the more irreplaceable sources of new meanings become gaps, failures, intervals, inconsistencies.


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