Gallery "Triumph" presents a personal exhibition of Anna Andrzhievskaya "Heavenly Wasteland", which includes paintings and graphic works, as well as installations. In her works, the artist opens the door
to an amazing land of revived flowers and plants, bizarre animals and secret signs. As if on a secret map, the viewer moves along the surface of her canvases, becoming involved in strange plots reminiscent
of ritual dances, carnival scenes, comic mysteries.
The symbols in the works of Anna Andrzhievskaya - each individually and in semantic connection
with each other - are more complexly constructed puzzles than a set of random images snatched
from the subconscious. The artist weaves the epic of her works from various signs and symbols,
which she borrows from Tarot cards, the books "Beauty of Forms in Nature" by Ernst Haeckel, "Cabinet
of Natural Rarities" by Albert Seba, "Symbols and Emblems" and others. Some come from
the surrounding reality, a modern artist - this is how images of a barbecue for picnics, concrete high-rise buildings, a signal tape, a red piano, a telephone set or an ice-cream bowl appear in her works.
Often, from the surface of her canvases, characters in the spirit of the works of the Dutch painter Hieronymus Bosch look at us - flowers and plants, fruits and vegetables that have become anthropomorphic. All of them seemed to have become alive and acquired intelligence. With a simple, slightly naive method, the artist endows them with faces that look more like emoticons, transmitting different emotions to the viewer.
In the new project "Heavenly Wasteland" Anna Andrzhievskaya addresses the topic of meeting oneself face to face, without a shadow of self-deception and false illusions. Each of the characters in her work
is in a state of catharsis caused by a crisis of self-perception. On the one hand, this is a painful process, because reality can turn out to be and, most likely, will turn out to be far from the usual picture of identity that our consciousness drew for us. On the other hand, it is a kind of lifeline, because, according
to the artist herself, “it’s like waking up from a dream behind the wheel of a car before dropping
off the side of the road or jumping out into the oncoming lane”. (Polina Mogilina)