Selected by Unseen Platform
I live and work in Miami, and this work slightly rebels against the perceived image of the city. Miami’s tropical iconography is precipitated through the abundant imagery that graces the city’s facades and billboards; it’s economy is deeply dependent on vacation real estate and tourism so a carefully designed image as a glamorous paradise plays a big role in the city’s survival. However, the city has to parallel this with adapting to changes brought about by the global economy and climate change; Four Seasons is a playful metaphor for change.
The act of photographing has become synonymous with experiencing life. While the number of images has increased exponentially with the development of accessible imaging technology, the types of images largely haven’t changed over the past century. What has changed is the number of images which adhere to certain compositional formulas within each pictorial genre. Natural landscape imagery is an obvious example. With the abundance of such images existing in stock libraries online, I am more intrigued by the possibility of finding these a new context and meaning in my tableaux than creating new photographs.
THE INFLUENCE OF SCULPTURE
Back in Moscow, where I am from, I studied Architecture and Interiors. Part of my routine at university was to document with a camera the paper models of the buildings I designed and this was my first experience with photography’s ability to transform space and create illusions of scale. Photographic images are undeniably constructed, so the sculpted material prints in my tableaux act as analogies for the inherent assembled nature of the medium. In the future, I’m hoping to build environments at full human scale, making them fully immersive.
Four Seasons is founded on a good dose of irony already so I thought proposing a seasonal theme in a place that has really only one season would extend this. The view of the ocean and palm trees that I see daily were the views I used to dream about in Moscow’s winter but that view was based on postcards and not on real experience. In the context of a waiting room of an Emergency Department where this work will be shown, I aim to give viewers their own vistas for thought, and hopefully an occasion to reflect upon the image saturated world.