Acrylic on canvas
Dimensions: 94cm (H) x 90cm (W) x 2cm (D) / 37" (H) x 35.4" (W) x 0.8" (D)
Note: Actual colours may vary due to photography & computer settings.
Elena's love of rural motifs is often evident in her paintings.
Many villages are full of legends. Sometimes city dwellers are interested in the archetypes of the villagers, the drunkard debauchee, the man with the golden hands, the granny hoarder. Lena spent her entire childhood in the village of Ishlya, a colourful settlement with its entertainment, leisure activities, traditions, myths and scares. Through painting, the artist captures the memories of her childhood impressions of her native village.
All the subjects of the paintings in this series are different, animals, chickens and of course villagers appear here. But Elena consciously does not want to talk in detail about each picture, in the hope that the viewer, who has spent at least a little time in the village will have a memory and its own story on the subject of the picture.
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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