Anastasia - International School of Paris

Still Motion - Anastasia — ***Still_Motion*** (February 2019)

Resin, dye, cotton, newspaper

10 x 10 x 15 cm

When creating this piece I wanted to explore the ephemerality and beauty of transience. Using individually dyed pieces of cotton fabric and by submerging them in blocks of resin I tried to create tension between motion and stasis. My intention was to emphasise the impermanence of the moment by combining antithetical substances and freezing a momentary occurrence. The inspiration came from the Japanese philosophy *Mono No Aware* concept of ephemerality in its most dramatic manifestation.

FACE (Octobre 2019)

Resin, laser sheets

15 x 13 x 5 cm

The inspiration for this piece came from Dustin Yelin. Like him, I used resin to create layers one by one from the separated image. Each individual layer can be seen (profile) as well as the whole image (front). In my work this effect creates a feeling of unfamiliarity with something that is extremely familiar, like the human face. This intertwines with the theme of the multilayered human character. The separation of a photograph into multiple layers is a visual metaphor for human personality.

Newspaper_Hand - Anastasia — ***Newspaper_Hand*** (Decembre 2018)

Photograph

51 x 38 cm (1927 x 1436 pixel)

This photograph demonstrates the conflation of two bodies: one rigid (the hand) and one fluid (newspaper). However due to the effects of resin on newspaper it has become transparent and now the silhouette of the hand seems as if it was part of the newspaper print. This merger between objects blurs the line between rigidity and fluidity allowing me to explore the boundaries of perception of reality and the way different physical concepts are perceived.

Junction (March 2020)

Plastic, styrofoam, wooden panel, paint

100 x 65 cm

This idea emerged from the concept street markets and soap bubbles shear. A unique element of transparency making them neither exterior nor interior. Although both have an area enclosed by their structure, that area does not fully belong to them (unlike an inside of a building enclosed within its rigid exterior) as it is connected to the outside. Because of this similarity in their structural composition I was keen to experiment with how their visual and conceptual properties could be combined.

Outside_Out - Anastasia — ***Outside_out*** (Novembre 2019)

Collage

21 x 29.7 cm

The title of my interpretation of Gordon Matta-Clark's Conical Intersect plays with the expression "inside out", since the outside of the building is really on the inside of the bubble. Still the outside is trapped within the bubble thus the building is both on the inside and outside. Using the same technique as Matta-Clark I created a collage that combines the contradictory qualities of hardness/fluidity, opaqueness/transparency and most importantly inside/outside.

Motus_tiles (Novembre 2018)

Ceramic

10 x 11 cm

Clay can take any shape, but I find its most important feature is its ability to retain imprints of individual touch. A mark made on clay by a hand can express multiple emotions, and as they change so does the clay. This is an exploration of how emotions can be permanently "fixed" on clay. Each tile was created at a different time and is imprinted with emotions I was experiencing at that moment. The immediacy of touch is preserved in the tiles, creating a visual account of transient feelings.

Beyond the Horizon - Anastasia — ***Beyond_the_horizon*** (January 2019)

Drypoint print

30 x 25 cm

My interest in this etching was to show and explore the very subtle Japanese philosophy Mono No Aware (awareness of impermanence, or transience of things, and both a transient gentle sadness at their passing as well as a realisation that this is the reality of life) By placing the three men with their back to the viewer and staring into the distance, as well as having all of the elements separated and floating around, I tried to show exactly what this philosophy propagates.

Costae Fluctuantes No 1 - Anastasia — ***Costae fluctuantes No.1*** (December 2018)

Photograph

51 x 38 cm (1927 x 1436 pixel)

When I started taking pictures of the human body I deliberately made them close-up shots. The idea behind this is so the audience is unable to immediately, if at all, establish which part of the human body they are looking at. This is meant to break the body down into a simple form/structure. And force the audience to see it as such. This allows me to bring attention to the bones and joints (human physique/architecture) that are so prominent in the picture.

Flat Dimensions - Anastasia — ***Flat_Dimension*** (April 2019)

Ink on paper

28 x 36 cm

This work was inspired by the concepts that Erik Bulatov uses in his paintings. Any painting consists of two elements: surface of the canvas and the dimension created by the artist. In this work imaginary and architectural elements are combined and suspended in an undefined space without top or bottom, creating a labyrinthine drawing. A composition where all the elements bear a similar weight and allow the viewer's imagination to wander endlessly.

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