Evgenia Emets: 2010

Without name

the landscape of my vector to you

my silence is the basic sound

for all sounds

to spring from mesmerised reality

of frozen world

sleeping wisdom odd beauty

wondrous existence

bliss stolen from gods

discovery of a line and its direction

is like discovery of breathing method

one’s axis

one’s spine

one’s arrow of hope

for eternal life

breath may hit the fruit

cracked, it leaks

white juice of life

drips in the centre

of the heart, wakening

one’s beauty

one’s eternity

one’s love

December 08

Europe

Europe. Series of 6 prints on wood. 200x200 cm. Edition of 3. 2005

Europe is a space full of mythic characters. It is a myth itself, with its diverse, interlaced history, with its culture rich in extraneous features. It has come through truly symbolic and inexplicable downfalls and has risen again from its own roots. Both innocent and crafty in its dark passion for conservatism and its sincere hostility for ignorance, it is fighting desperately against every attempt to be deprived of its crown.

Europe is constantly changing its masks, but it is still true to itself in its queer affection for combining the same ingredients in different ways and proportions. Ages ago it burned its witches, forgot about its barbarity and buried its heroes. Passing though the time trapped in its fairy tales and holding sway over it, it is still savage.

Each piece from “Europe” is a self-portrait, where lie hidden mythological characters of various cultures and regions of Europe. The authors view on the European history is expressed in the self-identification with this mythological organism.

The project “Europe” is not a geographical atlas, but a map of dreams, uncovering itself before spectators. This is not a chronological chart of historical events, but several time dimensions, where a spectator can move unrestrictedly.

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Have a look at each work – it may be a part of Europe; each of them is the vision of a generation aesthetics. There are no direct indications or quotations; there are only some hints. There are no captions at the bottom of the photos in order not to limit a spectator in studying symbols and allusions on his own. One may see here a region, a country, a capital or a cultural layer.

ARCO, Madrid, Stella Art Foundation, 2005

Echo of Now

Echo of Now at Pingyao International Photography Festival 2010

A few photographs from 'The Echo of Now' have been exhibited at Pingyao International Photography Festival in 2010, the show was curated by Irina Tchmyreva.

Echo of Now

Echo of Now at ULTRA show in 2010

'The Echo of Now' series exhibited at ULTRA, from 20 September until 2 October.

Group Exhibition 'ULTRA’ by Luisa Agliatta, Bálint Bolygó, Philip Chudy, Eugenia Emets, Ray Massey, Rob Matheson, Moira Metcalfe, Damir Muratov, Carien Otto, James Stroud and Nitin Vadukul.

The group exhibition ‘Ultra’ is the result of collaboration between artists well-established in the artistic community both nationally and internationally. They are represented in various museums of modern and contemporary art as well as private collections in the USA, the UK, Russia and Europe. Their backgrounds include paintings, drawings, etchings, filmmaking, photography, collages, sculptures and installation works.

see more info here http://www.colombart.co.uk/exhibitions_ultra.htm

'Ultra' is curated by Vera Dearman of Veracity Arts.

http://www.veracity-arts.com/

108

‘108’ is a project realised in 2006 as a solo exhibition.

One of the key themes explored in project 108 is the idea of interaction between levels of consciousness. The structure of project 108 enables the viewer to «switch in» the multi-dimensional vision. Photographs are the imprints of the coordinates of the spatiotemporal field. By moving through them we can identify ourselves with these visions and through them experience multiplicity of forms. The intuitive approach of organising the structures of the images echoes the idea of being in a transitory state. The interpenetrating images, like projections of consciousness hovering in space, are only relatively stable, or static, only to the extent of the state of the viewer at the moment of contemplation.

The use of the particular printing techniques, technologies and methods is dictated by the neccessity to adequately translate an idea in the material. The technology and the material are not dominating in this process, they are visualisation means creating a pretext for blending the abstract and the concrete into a single view, both concentrating and relaxing the eye.

Catalogue ‘108’ with text by Adele Di Ruocco.

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