Sunderø Art Gallery has attended the 2018 Cosmoscow art fair. As a result, we have made contact with several interesting Russian artists. Among them are Moscow born Maria Pogorzhelskaya, educated by Russia’s major art academies and now living in Moscow and Milan.
Pogorzhelskaya has behind her a long list of solo and group shows, both nationally and abroad. She has also participated in art festivals and art fairs, among them the 1st, 2nd and 3rd Moscow Biennale of contemporary art, Artklyazma International Festival of Art, Russia 2002, 2003 and 2012 and EcoWorld 1st Biennale of contemporary art in Jeonbuk, Korea
The artist claims that her secret code of art is joy, and by taking a closer look at her pictures, we can’t but agree. Having said that, it should also be emphasized that her choice of motives invites a number of interpretations.
The two series of paintings shown in our gallery seems at first glance very apart, both in expression and content. The Time Machine pictures are painted quite crudely with nail polish, eyeshadows, iodine, greenery and foundation, and show her personal collection of popular Soviet porcelain figurines of the 50’s, collected on flea markets in Moscow about 20 years ago.
The other works are oil paintings in vivid pastel colours, picturing girls and women in quite private situations; doing yoga, having a manicure or face mask. The persons in the pictures seems composed, happy even. It is as if they are caught in an unguarded moment, not aware of being viewed. Not feeling any need to protect themselves.
What the pictures have in common is Pogorzhelskaya’s interest in basic human behaviour and our craving for beauty; How is it that those naïve porcelain figurines, so similar in appearance, once was so popular? Pogorzhelskaya explains that they embed a wish to present idealistic objects for ordinary people; this is what children should look like and do. Owning one both embellished your home and set an example. Using make up in painting them underlines the aspect. By placing nice objects in my home or putting on my make up, both I and my life becomes more beautiful, more ideal.
Both series are figurative in expression. But in contrast to the Time Machine series, the oil paintings appear more photographic, as if trying to capture a moment and keep it in memory. By doing that, the artist states that all those unpretentious everyday moments, seemingly of no importance, are vital. And just like the Soviet figurines these captured situations of women’s life’s will forever incorporate memories, for future generations to reflect upon.