Amidst the White Moons
The title of the exhibition, Amidst the White Moons, serves as a poetic reading of a place fixed in memory, where several eras, generations, and points of perception intersect. The main protagonists in Olga’s works are members of a fictional tribe called the Urandi. This is a composite image that contains both personal and collective experiences in the search for a connection between generations, the unity of the present with the past, and the blending of reality with dreams.
The etymology of the word contains references: to the ancient Mesopotamian city of Ur, the biblical cradle of humanity; the combination of letters "an," derived from the Greek prefix "a-" (indicating negation); and "di-" (from the Greek for "double").
In this way, the artist constructs a fabrication about a tribe that simultaneously belongs to an ancient civilization and exists in the present, as well as a reality that is always intertwined with conjecture and imagination—elements that become history in the here and now.
The paintings and graphic works featured in the exhibition are linked by Olga Aksenova to the theory of the primary elements, knowledge of which was widely held in the ancient world, where the origin of matter was reduced to the union of four elements: water, air, earth, and fire. The sculptures, reminiscent of natural formations, are intended by the artist to serve as totems—symbolic attributes of the sacred—and are part of an invented magical ritual.
—Excerpt from curator Alisa Prokhorova’s text
The etymology of the word contains references: to the ancient Mesopotamian city of Ur, the biblical cradle of humanity; the combination of letters "an," derived from the Greek prefix "a-" (indicating negation); and "di-" (from the Greek for "double").
In this way, the artist constructs a fabrication about a tribe that simultaneously belongs to an ancient civilization and exists in the present, as well as a reality that is always intertwined with conjecture and imagination—elements that become history in the here and now.
The paintings and graphic works featured in the exhibition are linked by Olga Aksenova to the theory of the primary elements, knowledge of which was widely held in the ancient world, where the origin of matter was reduced to the union of four elements: water, air, earth, and fire. The sculptures, reminiscent of natural formations, are intended by the artist to serve as totems—symbolic attributes of the sacred—and are part of an invented magical ritual.
—Excerpt from curator Alisa Prokhorova’s text
The title of the exhibition, Amidst the White Moons, serves as a poetic reading of a place fixed in memory, where several eras, generations, and points of perception intersect. The main protagonists in Olga’s works are members of a fictional tribe called the Urandi. This is a composite image that contains both personal and collective experiences in the search for a connection between generations, the unity of the present with the past, and the blending of reality with dreams.
The etymology of the word contains references: to the ancient Mesopotamian city of Ur, the biblical cradle of humanity; the combination of letters "an," derived from the Greek prefix "a-" (indicating negation); and "di-" (from the Greek for "double").
In this way, the artist constructs a fabrication about a tribe that simultaneously belongs to an ancient civilization and exists in the present, as well as a reality that is always intertwined with conjecture and imagination—elements that become history in the here and now.
The paintings and graphic works featured in the exhibition are linked by Olga Aksenova to the theory of the primary elements, knowledge of which was widely held in the ancient world, where the origin of matter was reduced to the union of four elements: water, air, earth, and fire. The sculptures, reminiscent of natural formations, are intended by the artist to serve as totems—symbolic attributes of the sacred—and are part of an invented magical ritual.
—Excerpt from curator Alisa Prokhorova’s text
The etymology of the word contains references: to the ancient Mesopotamian city of Ur, the biblical cradle of humanity; the combination of letters "an," derived from the Greek prefix "a-" (indicating negation); and "di-" (from the Greek for "double").
In this way, the artist constructs a fabrication about a tribe that simultaneously belongs to an ancient civilization and exists in the present, as well as a reality that is always intertwined with conjecture and imagination—elements that become history in the here and now.
The paintings and graphic works featured in the exhibition are linked by Olga Aksenova to the theory of the primary elements, knowledge of which was widely held in the ancient world, where the origin of matter was reduced to the union of four elements: water, air, earth, and fire. The sculptures, reminiscent of natural formations, are intended by the artist to serve as totems—symbolic attributes of the sacred—and are part of an invented magical ritual.
—Excerpt from curator Alisa Prokhorova’s text
Amidst the White Moons
Expectation
2024, clay, glaze, 40x30 cm
2024, clay, glaze, 40x30 cm
Meeting
2024, clay, glaze, 40x30 cm
2024, clay, glaze, 40x30 cm
Expectation
2024, clay, glaze, 40x30 cm
2024, clay, glaze, 40x30 cm
Meeting
2024, clay, glaze, 40x30 cm
2024, clay, glaze, 40x30 cm
Expectation
2024, clay, glaze, 24x14 cm
2024, clay, glaze, 24x14 cm
Meeting
2024, clay, glaze, 20x13 cm
2024, clay, glaze, 20x13 cm
Expectation
2024, clay, glaze, 24x14 cm
2024, clay, glaze, 24x14 cm
Meeting
2024, clay, glaze, 20x13 cm
2024, clay, glaze, 20x13 cm
