The field of my research is outlined by the constructs in the basis of the consumer society. My works are built out of the content I find on an online-shopping website. Representing subjects through objects, the imagery remains as a gesture of elimination of personal responsibility in acts of exposition. For the last few years I’ve been collecting the photographic data from the most famous website globally shipping goods from China. These photographs became the focus of my attention.
One of the aims of my work is to attempt to understand the reasons underlying formal and psychological choices made by the people in the pictures. Consciously avoiding social networks, the referents exist as coded online files available twenty four hours a day as the images can be downloaded from the website.
Thus, collecting not only the images but also these referents, I transform the pictures into signs in order not to lose the original thread connecting us. Subject-object relationship create the tension between the products people buy and give feedback on and human shapes - physicality of the actors/buyers. Echoing Debordian notion of the Spectacle, the sum of personal photographs as well as the rest of pictures on the site appear as an isolated but simultaneously united social relationship net mediated by images.
The subjects deprive themselves of individuality, providing me with the shapes to work with. The myth of modernity enhances the obsession of commercialization as a sign of wellness. Therefore, the archive I’m working with becomes a vanishing point for the spectators, especially the Russians, who’d either unconsciously or consciously go to extreme by abandoning their cultural Soviet heritage.
The situation becomes rather absurd, as the will to be seen by someone expands the ironical enjoyment of the human comforts. From the existing contradiction between public and private arises the restrained usage of the medium dictated by the visual representation of connotations within the imagery network. For me, this network seems as pure and abstract shapes of desire embodied into compositions of color and forms making the context disturbing.
In my practice I try to represent the content from the archive as a metaphor of a common compulsion. The medium I work with helps me to highlight the connotation of the subjects’ Soviet past. As a result, a critique of the subject of classical painting emerges. Social Realistic settings and social doxas resemble themselves as formal elements through the process of interpretation and vary from contemporary colour palette to the methods of displaying artworks in Russian state galleries and museums. The celebration of the human body releases its potential through the methods of displaying and visual interpretation.