Victoria Gallery, Samara, Russia.
Victoria Gallery with Marina Gisich Gallery support presents the Iron Overtones exhibition. The Iron Overtones project is connected to artistic and real-life contexts in equal measure. In the artist's works, we can easily pick out visual elements familiar from childhood: 50 years ago or so, homes across the country were decorated with thin black iron work in the form of shelves, flower pots, and magazine racks. Their graphic nature, lightness, transparency and fragility signified a return to culture one after culture two, borrowing the terminology of Vladimir Paperny.
Now these objects are viewed with a dose of nostalgia. The Soviet sensation of being in step with foreign fashion, design, and with the rest of the world was short-lived, but its naive aesthetics survived the times. Each cheap fence, border railing, window grille and stair banister demonstrates how generic abstract forms relay a lyrical narration, like the musical notes in the design of the music school seen by the artist in Murmansk. Music theory and scales have always had an undeniable cultural status in the eyes of parents, who fail to understand how coercing children to create can kill their creativity. Iron overtones in the teacher’s voice both alienate and develop a bond, which is how an individual intonation emerges.