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29.09 — 07.11 / 2021
personal exhibition
of polina shilkinite
of polina shilkinite
signs in
the garden
the garden
The series presented in the exhibition 'Signs in the Garden' show three phases of Polina Shilkinite's creative journey over the last two years.
Curator Elena Teplova: " The earliest series, "Wonderland 2020", began with a series of digital drawings in which the space of isolation was refracted: sunlight streamed down walls and doorframes, people were lost in a looking-glass, the tiled floor pattern was crushed into pixels, and banana peels and yellow household gloves suddenly appeared in the most unexpected places - as if in pursuit of each other. The door to this world was opened by the author's hand, literally, as in a smartphone camera or the video game. The apotheosis of the series was the image of a garden on a canvas of the same name, in which - in the bushes on the windowsill, in the whimsical combination of planes and patterns, in the sterile whiteness beyond - for the artist the image of a new post-pandemic home was embodied, beyond which it makes no sense to look, because there is nothing there."
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17.11 — 22.12 / 2021
personal exhibition of Polina Shilkinite
personal exhibition of Polina Shilkinite
Signs in the Garden
The series presented in the exhibition 'Signs in the Garden' show three phases of Polina Shilkinite's creative journey over the last two years.
The earliest series, "Wonderland 2020", began with a series of digital drawings in which the space of isolation was refracted: sunlight streamed down walls and doorframes, people were lost in a looking-glass, the tiled floor pattern was crushed into pixels, and banana peels and yellow household gloves suddenly appeared in the most unexpected places - as if in pursuit of each other. The door to this world was opened by the author's hand, literally, as in a smartphone camera or the video game. The apotheosis of the series was the image of a garden on a canvas of the same name, in which - in the bushes on the windowsill, in the whimsical combination of planes and patterns, in the sterile whiteness beyond - for the artist the image of a new post-pandemic home was embodied, beyond which it makes no sense to look, because there is nothing there.
If you look into the future, as Polina does in her "What will Remain" series, digital reality becomes more and more visible and only traces of the human image are preserved - piles of colourful plastic rubbish. They also "decompose" into pixels and are gradually abstracted to an almost iconic system in which it is difficult to recognize primary images - a form adequate to the global reflections of the series. And yet the artist's planet is also a garden filled with bright colours, also a home, a place that accumulates traces of people and events.
The symbolic conclusion to the path that started in "Wonderland 2020" is the all-new series "Hidden Spaces", which leads the author to the city. Desolate as all of the artist's spaces are, its matter is torn by glitchy scars on streets, buildings and plants. The places depicted are fenced in with red and white ribbons warning of the error of reality, and all the usual navigation signs are mixed up with children's drawings on the pavement. Most distorted, breaking into multiple elements, is the view of the very window sill where the garden first bloomed in Pauline's work - here the view is from outside. Digital overload has taken its place in the familiar image of the world, where one learns to navigate anew, creating new signs, leaving new traces.
Curator Elena Teplova
works
