Anastasia Alekseevna 

In my artistic practice I combine analog and digital projection techniques with performance, installation, video, painting, printmaking and photography. My works oscillate between figurative and abstract, moving and static. Experimental approach and interplay of composition and deconstruction are significant for my way of working. I am interested in processes of physical, technical, cultural and spiritual transition.      


Project “Northern Lights”
KulttuuriKauppila Art Centre, Ii, Finland, photos: Jarkko Räsänen

Facades Illuminations

image #1 Linden Center Berlin Leuchtet Light Art Festival 2018, Berlin, Germany
photo: mottto/DUNKELSTROM
image #2-4 Alte Post Fürther Glanzlichter Light Art Festival 2018, Fürth, Germanyphotos: mottto/DUNKELSTROM, Schuhmacher, Kamran Salim/FurthWiki
image #5-11 KulttuuriKauppila Art Centre, Ii, Finland, photos: Jarkko Räsänen

"Part one: SPLATTER", performance, 2018
Projections / Stage: Anastasia Alekseevna
Performer / Text: Lola Lustosa
Sound: Jarkko Räsänen

Collaboration as collective BROKEN LOOP is an interdisziplinary performance. Subject is a live loop structure studied with caroussel slide projections and live sound loops on stage. Moving image and the soundscape are combined through the performers to theatrical gestures resulting into trance psychedelic sessions.

Sweet Pain, 2018 
analog b&w photography, baryte prints mounted on aluminium, 40 x 30 cm

This work addresses the impact of beauty standards throughout times, cultures and genders. Throughout history there have been drastic measures, which people would adopt to eliminate body hair. Also now we live in a body-conscious society and the standard of beauty is still focused on smooth skin that’s free of excess body hair. Digital photo manipulation allows to create unreachable ideals, for example by making skin without any texture. People go through costly and painful procedures to feel beautiful or even normal.
    Referring to an ancient bridal ritual I have visited a sugaring studio and let remove all my body hair except eyebrows and scalp hair. Subsequently the remains of the treatment were used to make the photograms, so the depicted substances are hair and skin particles within the mix of sugar and water. Further I used a sef-made developer, Caffenol-C, which is a mixture of washing soda, instant coffee and vitamin C. It dyed the photo paper in light brown shades.
Each photogram is an uniqum, made in the darkroom without usage of a camera.
Photogram series “Sweet Pain” was first presented at the exhibition “Sugar”, Food Art Week Paris in June 2018, later in the exhibition “Weird”, Deviation festival Berlin and lately in Asbestos Art Space in Helsinki. 

photopolymer intaglio prints, 2018

image #1 Cosmos 76 x 107 cm
image#2 Micro&Macro #2 50 x 50 cm
image#3 Micro&Macro #3 50 x 50 cm

This series is based on X-Ray images, which are transformed into printed art graphics. Used printing technique is photopolymer intaglio, which is a non-toxic advancement of photo etching.

image#4 Unfolding I 50 x 50 cm
image#5 Unfolding II 50 x 50 cm
image#6 Unfolding III 50 x 50 cm

The serpent is one of the oldest and most widespread mythological symbols. Snakes have been associated with some of the oldest rituals known to humankind. Out of snake's skin texture developed patterns evolved into a recurrent element in my work.
In the work Unfolding the image, first developed as photogram on flat film, is subsequently transferred into printed art graphics.

Metamorphosis I-IV, 2016  
analogue photo prints / photopolymer prints
50 x 40 cm, 50 x 70 cm

Metamorphosis is a formally symbolic work - there is circle, egg, snake and the golden cut. 
Photogram has evolved as an artistic medium in my work and I use it as method to examine materiality.
This series contains four framed photogram assemblages, which were first displayed in the group exhibition Time Shapes, Berlin Art Week 2016 and later in the group show 14 x 17 x 4, Lange Nacht der Bilder Lichtenberg, Alte Giesserei Berlin in 2017.

Membranes, 2016 -2018 .
image size 15 x 18 cm

I use photogram making as method to examine organic materiality between in- and outside of a body, for example skin, hair, exosceletons, bones. Moulting is the manner in which an animal routinely casts off a part of its body either at specific times of the year or at specific points in its life cycle. The process of moulting is interpreted as symbol for the desire of eternal youth - historically, serpents represent fertility or a creative life force, they are symbols of rebirth, transformation, immortality, and healing.
This work in progress is a material, technical and formal study, executed within the media of analog photography and photopolymer intaglio. This research was presented in the printing department of Academie voor Beeldende Kunst in Gent in 2016 and at the festival of analog photography “analogueNOW!”, BLO Ateliers in Berlin in 2017.

Berlin Food Art Week 2015

The exhibition LEBENSMITTELpunktKUNST, curated by Kerstin Godschalk, took place within the scope of the Berlin Food Art Week 2015. In the venue of the HB55 Kunstfabrik, Berlin I presented three works :

#1 Specific Needs in collaboration with Dennis Rätzel
video sculpture: fridge, video loop , 80 x 60 x 60 cm (image 1-4)
#2 Need is the mother of invention
happening (image  5-9)

#3 Potatoe Beetles
display cabinet: glas, plastic, potatoes, 70 x 50 cm (image 10)

Cave Paintings 2012-2014

These works are consisting of paintings combined with objet trouvé elements. Cave Painings installations were presented in several exhibitions within the venues of Uferhallen in Berlin.
#1 Breathless oil on canvas, 50 x 70 cm (page 1)
#2 Cave installation photo view 1 & 2 (page 2-3)
#3 Cave Painting I oil pastels, acrylic and oil on canvas, 120 x 120 cm (page 4)
#4 Orbis Terrarum mold cultures, acrylic binder, oil on canvas, zinc, bitumen 200 x 280 cm (page 5)
#5 Cave Painting II oil and spray colour on handmade fiber based pape, wood, 60 x 130 cm (page 6)
#6 Fame Pieces spray colour, acrylic and oil on linen, 300 x 400 cm dimensions variable (page 7)