On view: November 7 - December 13, 2019
Organized by Anton Svyatsky
Opening Reception: Thursday November 7, 6 – 9pm
Wednesday – Friday 10am – 4pm and by appointment
First Friday December 6, Gallery will be open 6 – 9pm
Eleven Twenty Projects 1120 Main Street, Buffalo, NY 14209
“Of time you would make a stream upon whose bank you would sit and watch its flowing.”
– Khalil Gibran
Buffalo, NY – Eleven Twenty Projects welcomes New York City based artist Anastasia Komarova to Buffalo, NY for her first solo gallery presentation, The Shape of Time. The exhibition is organized by New York City based independent curator, Anton Svyatsky.
Komarova works in a variety of media within a practice that is aesthetically rooted in minimalism and conceptualism which contends with the representation of fundamental ontological properties. The first point of reference in the exhibition is the installation of a mesh made of heavy fishing line and plastic straws that sublimates the space around it, oscillating between real objectivity and pure abstraction. It resembles a coordinate system of spacetime twisting in on itself and revealing something fundamental about being, like a Minkowski diagram demonstrating the incomprehensible elasticity of reality. The environmental crisis of plastic pollution of the planet is not lost on Komarova, but it is the laborious up-cycle process that rearranges a meaningless (and environmentally noxious) yet functional ontic substance into an intelligible yet abstract system that reveals the substratum of human reality.
The two miniature paintings with rigid streams and cascades of evanescent shimmers on the surface are slated with flattened mother of pearl that is translucent, and therefore extremely thin and brittle. The deep blue color bleeds through the iridescent planes, materializing into a synthetic structure that is both monumental and fragile, solid and liquid, still and flowing. This is an emergent phenomenon of perception that animates the face of an impermeable nothingness and gives it form. The other works in the exhibition also pursue these phantoms, methodically drawing them out with water and dust.
Like a primordial cauldron of creation, Komarova uses charcoal dust, meditatively tracing the threads of time and space on the surface of the canvas with the utmost care and precision employing nothing but her bare hands. The obelisks and monoliths that emerge seem to be archetypal primary structures that resemble Platonic forms exposed by the lines stretching and flowing over their surface, appropriating their shape. These are attempts at transcending time to look upon it from without, to reveal its rudimentary form. But they are also an objectivization of temporal processes that are not mental states, as signified by the absence of any color and supported by the juxtaposition of the blue series across the gallery. Those betray a subtly different approach.
Another way to regard time is to assume that it is a conceptual construct manifested by and within a reflective consciousness, in the manner described by Heidegger or Sartre, which refuses objective realness to the past or future. In that case Komarova’s blue pigment paintings are not representations of temporal structures but more like portraits of a certain process of consciousness, an illustration of Bergsonian qualitative multiplicity, especially when considered as a singularity. Taken together, they are a fleeting thought or feeling that synthesizes, flows, and dissipates across time, revealing itself to us as a timeless totality. In contrast, the few watercolors in the exhibition are temporal slices of this continuum, a transfixed present. Like the primeval Moirai, the fates, the spinstresses of all that is, was, and will be, the artist weaves the temporal threads that consciousness traverses.
ABOUT THE ARTIST: Anastasia Komarova (b. 1986) ) is a Russian-born, New York-based artist working with the concepts of time and space, process and matter, often addressing them through the prism of artificial systems and architecture. Her work centers on metaphysical space that extends infinitely within a finite frame, producing the uncanny effect of appearing monumental even at the smallest scale. The resulting objects are saturated with theological monumentality while maintaining underlying noumena, drawing a bridge between the grand wall murals and installations of Sol LeWitt that emerge from mathematical concepts and the paintings of Rothko in all their inextricable sublimity | Artist website: https://komarova.format.com
ABOUT ELEVEN TWENTY PROJECTS: Founded in 2013, Eleven Twenty Projects is a modern and contemporary arts initiative focusing on art, history, and material culture through diverse programming and with an independent vision.
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