This project, of course, is also a deep artistic study of the connection between modern and classical art. Using the materials and techniques of classical art, referring to the colors and color solutions of the Renaissance, paraphrasing the interest of the golden age of Dutch painting in a child's portrait, genre scenes and the transience of being, but speaking with the viewer in a modern neo-realistic plastic language, the author reveals the continuity of artistic processes outside of time.
In the series of works presented in the museum, Svetlana Kornilova refers to the works of old masters, quoting their desire for beauty and harmony, but adding a conceptually new reading to them. Studying the ephemeral nature of our current existence, the author reflects on the fragility of the material world, on the transition to the world of information phantoms, on voluntary slavery in captivity of electronic devices, on time that no longer flows through fingers, but through gadgets. About what will remain with our children in their childhood memories. Immersed in online classes, YouTube, tiktok, social networks and search engines, what will they rely on when they grow up?
But after all, we don’t remember all our childhood day after day, but, having forgotten the dull routine, monotonous days, the lack of freedom inherent in any childhood, we cling only to bright moments, put together happy pictures from them, patiently grow in our memory from grains of happy events and bright days serene time. Replaced Memories.
In her works, Svetlana Kornilova consciously tries to fix a person in the material space: “My characters perform understandable, tangible actions within the framework of recognizable physical objects. I depict an ideal world in which everything is in its place. By placing an object in canvas space, I show the situation or stage that the person is going through. That is, the picture is like a portal through which the viewer can look back, plunge into their memories or suggest some events in the future.”
Her characters are not deliberately depersonalized, the situations are recognizable, the plots are bewitchingly simple. Both these plots and this recognizability give an indescribable feeling that life goes on outside the picture and constitutes the beginning of a big world that has not fallen on the canvas, where there are other swings, and other fences, and other boys, and other girls. And another childhood. More real.
That happy childhood that we don't have, but which we clearly remember. Our support. We have grown and cherished our secret garden”
(Elina Gritchina, art critic).
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