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Anastasia Prokofieva, a young Moscow artist presents his series of new works. Most of them - still life, which is the impetus for the inventive game in history. The genre of the still life of meaning is very ancient: in antiquity scenic artists guessing riddles of his time, of which at times even beating our heads. It is no coincidence that Anastasia is drawn to the Latin aphorisms as the ancient incarnation of wisdom, etched in simple signs ("The world is amazing, but be careful, be subdued," "Warrior, be wise, do not believe the cunning", "female nature", " daring fate helps ", etc.). The spirit of story telling, which breathes all the papers was about postmodernism and XX century. Black-and-white palette some work refers to the aesthetics of film and photography, with well-aimed spray from the repertoire of "painting movement" (Pollock, Kiefer) and avant-garde interspersed individual color patches, soft tone and color Valerno other recalls the romantic era of impressionist and surrealist .

Some of the work is devoted to the theme "masculum et feminam" (male and female). They challenged the myth of the androgyne gray and soulless this century unisex celebration in which any gender differences are erased. These still lifes Anastasia recovers mystical understanding of the essential differences. This desire to resist the offensive century unisex apparent in the last century, many times, but this is often expressed in a critical mood (eg, unified entity youngsters E. Lissitzky). Nastya, by contrast, gives life meaning archetypal male and female, feels new psychological tastes natural differences. She thinks dialectically, taking both positive and negative manifestations of human nature. None still life in this series was not set on purpose, each track - the fruit of chance in life, which creates a pleasant impression of immediacy and trepidation.

Another series of works - it still lives, "Morning", "lunch", "5 o'clock» and a few others that are adjacent to them in the sense of ("The Night of the Day", "Cat and Mouse», «Tikka», «Small atlas "," Holiday "). They, on the contrary, all of the items in the beautiful Dutch still life, set deliberately, although in some creative chaos (what Nietzsche would call chaos, entropy and Jung). Each of them has its own character, its own hint. In this series dominates the feminine, which are mixed romantic and contemplative, busily collected, historical and contemporary. Many of the objects create the intrigue scale when not clear of the exact size - it gives the whole scene a surreal spirit (in particular, "Toy of Budapest"), evokes the passion for the fantastic.

A series of self-portraits has given rise to spill the accumulated creative energy of the artist. Not coincidentally, each canvas tends to reveal relationships with some of the old elements of existence. The portraits are clearly represented air, water and fire, expressed in dominiruyushey colors and psychological state of the image. Work large decorative spots reminiscent avant-garde art, underwater weightlessness or rainbow height hint at the current style of Art Nouveau and Surrealism, covered enjoyable decadence; fiery focus a little expressive.

Anastasia, despite the warmth, harmony and timidity of his work, in reality severely opposes common now, but, in fact, boring and irresponsible thoughts about the "death of painting", the disappearance of the image, as well as style urbanistichskogo, cold high-tech that captured much of the contemporary art world and in many ways it weakened. Her paintings - little gems, each of them living symbol and myth. The narrative is played out in the world a little doll, images and dreams are simple household goods, toys, souvenirs, sculptures, masks, props poluteatralnym. They are dead and immobile in our everyday lives, but, as in any fairy tales, things sometimes mysteriously come to life and play their important roles. The artist is sometimes possible to catch them by surprise. Anastasia offers his interpretation of what he saw, but at the same time and causes the viewer to create their own interpretations and versions of its images-clue puzzles. Any spectator is entitled to his point of view - because each personal "psychological skin."

Tarhanova Svetlana, art