ICE BALANCE | SELFIE WITH MASK | NYA | TRIBECA NEW YORK

 

MARCH 03-04 2020

Olga Feshina: Ice Balance, 2020

ICE BALANCE. SELFIE WITH MASK. GALLERY

Installation - mix media

2 x 3 x 3 m / 6.5 x 10 x 10 ft

Paintings Selfie with Mask and Ice Balance - acrylic on canvas; object Ice - polyethylene, polypropylene and polyvinyl; suspended objects Icicles - stone, plexiglass, plastic, silicone, silver, steel

Curator - Lucy McCarron

Pop-Up Show

Data: March 03 - March 04, 2020

104 Gallery, Tribeca, New York

A new body of work by Olga Feshina is three dimensional installation "Ice Balance. Selfie with Mask." The pop-up show curated by Lucy McCarron was held on view in TriBeCa New York, March 3-4, 2020. 

Feshina's installation includes a mix of painting paired with suspended objects that transform the perception of art in a limited space. In the work, the artist expands on her subject of technology, imitating computer generated technique in her painting style. The shape of the icicles are in stark contrast to the utmost softness of her brushstroke. Feshina depicts a frozen smirk reminiscent of a landscape. Opposite is a bold smiling portrait covered in a mask of the same icicles as the hanging sculptures. The mask wearing portrait is commenting on the inability for individual health protection, not only because of the current widespread panic of spreading infections in our overpopulated society, but in the stark reality that one cannot avoid the dominance of technology. Perhaps we can wear a transparent mask without hiding a smile as a trendy accessory. The new tech gadget would become a  combination of self protection from viruses and from face recognition technology, on a personal level with cell phones to global surveillance.  

The artist uses synthetic materials to create her typical pendants as icicle objects, suspended from plastic. They speak to the global climate crisis exacerbated by societal obsession with technology and the high production rate of products causing so much global waste. The installation is staged with plastic recycling trash, reflecting the pale color palette in Feshina’s painting. The artist is presenting the bewitching invasion of technology with a focus on the problem of ice balance and commenting on a move to restrict the excessive use of plastics. Feshina warns that if we are to continue down this road, we must be content to experience a landscape made from polyethylene and polyurethane.

Quite recently, Olga Feshina exhibited works at number of shows and exhibitions in galleries in Tribeca, 1stdibs Gallery in Chelsea (New York). In 2019, her works from ongoing series “New Tech Girls” were exposed at Google’s offices in New York. She had shows “The Internet” at the Shchusev Museum of Architecture (Moscow); Paris sur Mode (Paris); and “Icicles” at Mercedes-Benz Fashion Week Russia. She created the world’s first sport uniform for chess players as a commission from the International Chess Federation (FIDE). Feshina has been featured in publications, such as W Magazine, Wallpaper, ELLE, Bazaar, FAD Magazine, Cosmopolitan, and others.

Olga Feshina and Lucy McCarron have been working together at a few exhibits and shows in New York and shared artistic vision and passion over the project related to environment and the situation in the World. 

VIDEO FROM THE INSTALLATION

IMAGES AND DESCRIPTIONS

NEW TECH GIRLS - BIKINI ISSUE | NYA AND GALLERY 104 | TRIBECA NEW YORK

04 - 26 JULY 2019

Olga Feshina: New Tech Girls - Bikini Issue

Acrylic on Canvas, 13 artworks

Opening reception for the public on Wednesday, July 10th, 6-9pm

Exhibition Dates: July 4 - July 26, 2019

Collaboration NYA Gallery with Gallery 104, Tribeca, New York

NYA Gallery and Gallery 104* are pleased to announce a solo exhibition of new work by Olga Feshina. Curated by Shane Townley, the show will feature about 10 paintings (11 works 48 x 36 in and 2 small), many of which have not been previously exhibited. These works explore core motifs related to the artist’s ongoing “New Tech Girls” series, namely beauty, image construction and distortion, identity, self-fashioning, and presentation. With these new paintings of scantily clad young girls posing with handheld devices, Feshina calls the viewer’s attention to the contrast between contemporary and historic portraiture poses, highlighting how restrictive codes of behavior change, migrate, and ultimately manifest themselves in visual culture.

Feshina said, “Earlier ladies and young girls on the  classical portraits would either sit rigidly folding their hands or recline being nude. As opposed to them  the girls we see  in popular social nets are in bikini with a computer or a mobile.”

“New Tech Girls” Series

Feshina began the “New Tech Girls” series in 2016 and has continued elaborating on this body of work over the past few years. She is fascinated with how technological progress has had an adverse impact on the psychological development of women today. Specifically, she offers a compelling critique of how the paradigms of contemporary feminine beauty are created, distributed, and absorbed across digital devices and platforms. Using a soft, muted palette and matte texture, she situates her flat figures within shallow pictorial spaces. Her work repeatedly calls attention to the idea of surface, which is apt since her imagery is focused on the complicated dichotomy between reality and the virtual world. Across canvases like Girls Taking Selfie on the Beach (2016) and Girls Taking Selfie in the Fitting Room (2016), Feshina arranges highly idealized young girls in emulative poses that mirror ones they’ve seen via social media. Their actions in turn perpetuate trending postures in a never-ending cycle of vapid mimicry. The artist mines numerous media outlets in order to become familiar with the most common gestures, poses, and stances in circulation. What is more, her characters are often in synchronized postures in the compositions, underscoring the loss of individual expression and identity due to the nearly ubiquitous forces of conformity that operate underneath the surface of every constructed image on social media. Interestingly, in Girls Taking Selfie on the Beach, one of the figures holds a selfie stick, framing the overall painting as the screen of an iPhone. In other works, such as Girls with Friends Walking in Park (2019) and Girls Watching the Same Movie on the Beach (2017), the slim, youthful figures are together physically, but removed or distanced psychologically because they’re engaged in entirely different realms virtually.

The artist has described her female figures as twenty-first century versions of the nymphs of antiquity. In Greek mythology, nymphs presided over certain natural locales, such as mountains, forests, lakes, rivers, and oceans. Feshina’s technologically obsessed nymphs similarly inhabit outdoor environs, but are often completely disconnected from these physical surroundings, inhabiting a digital forest so to speak, one populated with computer-coded creatures. The artist’s insertion of a doe in many of these works further expands this idea of a digital forest or enchanted grove. As Feshina has explained, animals figure rather prominently in fairy tales— folkloric or literary forms that have a lasting impact on children’s conception of self and others. Within her series, she understands the doe as representing each figure’s inner child: innocent, naive, impressionable, and needing protection. In the diptych Girls Exploring Their Feminine Nature (2017) and Inner Child Watching VR (2018), the doe is seen as being corrupted by early exposure to technology. Overall, these paintings can be read as a social commentary on how technology has facilitated the rapid construction and dissemination of implied codes of behavior about how girls should look and act.

Artist Bio

Olga Feshina grew up in Kazakhstan, where she trained as a fashion and costume designer. She attended Karaganda Art School and focused on painting and photography. Later, she studied contemporary costume design at Kazakh National Academy of Arts. Among her many design accolades, she created the world’s first sporting uniform for chess—a commission from the International Chess Federation (FIDE). Her training as a designer has heavily influenced her painting style, which includes formal elements of cartoons and digital illustrations. In 2013, the interdisciplinary creative practitioner moved to New York.

Feshina has been featured in a number of notable publications, such as W Magazine, Esquire, FAD Magazine, Women Love Tech, Wallpaper, ELLE, and L'Officiel. She has had solo exhibitions at Gallery Tvorchestvo (Moscow); the Shchusev Museum of Architecture (Moscow); Paris sur Mode (Paris); and Mercedes-Benz Fashion Week Russia. Most recently, she exhibited works from “New Tech Girls” at Google’s offices in New York and at a booth for NYAFAIR in Tribeca.

The exhibition will open to the public on Thursday, July 4th with a reception the following week on Wednesday, July 10th from 6-9pm. The show will remain on view until Friday, July 26st**. Visitors may see works during regular gallery hours: Monday through Sunday, 12-5pm.

*Shane Townley, Founder & Director, Curator, NYA Gallery

*Lucy McCarron, Director, Curator, Gallery 104

*Anthony Huffman, Press Liaison, NYA Gallery

**The exhibition was suppose to be from July 04 to July 21, but it was extended until July 26th.

For more information, please call (917) 472-9015 or email press@newyorkart.com.

NYA Gallery & Gallery 104

www.NewYorkArt•com 

7 Franklin Place, Tribeca, New York, NY 10013 

+1 917-472-9015

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ICICLES - FROSTY MORNING. WINTER EVENING. | MBFWR F11W12 | CONGRESS HALL MOSCOW

OLGA FESHINA: ICICLES - FROSTY MORNING. WINTER EVENING.

Installation - objects and jewelry: plexiglass, glass, stone, silicone, metal - 2011

Slide show on a screen - Icicles - Frosty Morning. Winter Evening. - photos by Olga Feshina 2009-2011

Solo show at Mercedes-Benz Fashion Week Russia (MBFWR F11-W12), Congress Hall, Moscow, Russia

April 05, 2011

Reportage photos from the installation: Denic Klero

SLIDE SHOW “FROSTY MORNING. WINTER EVENING.” BY OLGA FESHINA: