My name is Marina Smith, I live and work in London.
I was born in USSR just before it collapsed.
Russian 90’s were the strangest times for the country, that just had stepped away from totalitarianism into troubled times of capitalism, criminal rise and oligarchy. Imagine state with all things terribly unclear, imagine country with no values, no roots, no respect for the past, no moral standards – from now we see, that capitalist experiment in Russia has failed, but 30 years ago there were great expectations and great chaos.
Here I am talking about chaos and dead kittens. Video has no sound, it was the part of a silent installation, but full text is available here.
Thus, I feel connected with chaos in an exquisite and perversive way.
My work is about (first) finding chaos and (then) creating rules and serenity spots, where chaos is acceptable, cozy and friendly. Looks a little bit like a childhood trauma and a coping strategy… well, yes, probably yes, indeed. My first education is in Psychology, by the way.
I study Fine Art (BAFA) in Central Saint Martins now, and that’s all because I like order, serenity and playing by the rules. That would be my second education.
Let’s explain this Chaos-as-Fetish theory with example.
Here are ‘Selected works’ on main page, mostly photography portraits. They are digital photographs, made with lots of special devices and peculiar objects, helping me. These can be blurry lenses, burnt colour screens, kaleidoscopes, dichroic film, prisms and other optical rubbish, old digital cameras, weird low rate photography apps – all sorts of ways of bringing chaos into relationships between photographer, camera and object. The result does not look chaotic to me. Sometimes distortion is the part of composition, sometimes it looks like someone intentionally edited images in Photoshop, but no, nobody edited them. It’s me, who learned the language of this particular little chaos.