30 May – 30 June 2020
Text and design was copied from original exhibition page, curated by Victoria Shaminova (Moscow)
“No. 1” is Marine’s first personal online exhibition. New works are reinterpretation of her past artistic experience, and they continue the previously developed theme of duality.
The name of the exhibition brings a special meaning for the artist; it is a reference to the beginning of a new chapter in Marine’s work. It is with them she begins to become aware of herself as an artist. Despite the fact that Marine was engaged in digital photography for many years, the works from the “No. 1” series became the material embodiment of her self-identity search.
Images covered with liquid acrylic are photographs from the artist’s archives dating back to different years. The sources of inspiration for this series’ creation were colourized photographs of Gerhard Richter.
However, the main thing for the German artist was to create a space for an interactive dialogue of painting and photography. Marine, with the help of some paints, fills in the gaps in the usual view of the world and casts doubt on the accuracy of the image in the picture. The keystone of this certain concept is the idea of the possibility of parallel worlds existence, and the creatures that inhabit them.
More often, Marine gives colourful images anthropomorphic properties. This is especially acute in art works where physiological signs begin to be guessed in an abstract colourful form. The monsters that arise in the portraits are manifestations of the essence of the human’s inner world, a reflection of his or her thoughts, and sometimes, the other side of the soul.
The theme of the city was especially brightly embodied in Marine’s oeuvre. Interest in various landscapes has always been inherent in the artist — this is evidenced by her early photographic work. Examining the works from the series named “No. 1”, one can note that objects arose when applying paint to photographs do not always have anthropomorphic properties. Sometimes, the forms become the material embodiment of the energy of the city.
In other cases, painting works give us some references to the idea of the existence of portals to fantasy, undetectable to the human eye worlds. The works, where monsters are more often present, evoke bright associations with utopian scenarios of life development on Earth after the disappearance of human civilization.
When we look at Marine’s work, we cannot help wondering whether everything around us is true. Is the visible world the result of each individual’s imagination, or are the boundaries of perception the same for the majority?
Size of all works is 10 x 15 cm