MARGARITA IVANOVA
ARTIST
imargaretart@yahoo.com
«To doubt, or at least allow oneself to doubt,
one's habitual interpretation of reality
is the best way toknow the world»
Exhibition activities
- International Exhibition-Fair
ART-Rostov. Donexpocentre.
September 6-13, 2020
- International Exhibition Human
Nature. Colors of Humanity Art Gallery.
1 - 30 April 2021
- 11th International Exhibition of
Figurative Art. Light Space and Time
online Art Gallery 5 - April 30, 2021
- International Exhibition-Fair
ART-Rostov. Donexpocentre. April
15-24, 2021
-International Exhibition-Fair Art World,
Nizhny Novgorod
Feb. 5, 2022 - Feb. 13, 2022
-International ART Fair ARTCONTACT Istanbul
May 30, 2023 - June 4, 2023
-Elvira Exhibition,
Bodrum, Turkey
July 28, 2023 - Sept. 11, 2023
-International ART Fair World art Dubai
May 2, 2024 - May 5, 2024
-International ART Fair Thessaloniki
May 23, 2024 - May 26, 2024
-International ART Fair Art Russia
April 3, 2025 - April 6, 2025
-International ART Fair World art Dubai
April 17, 2025 - April 20, 2025
-International ART Fair Art Russia Classic
September 24, 2025 - September, 27, 2025
-International ART Fair Art Russia
April 2, 2026 - April 5, 2025
Education
Academy of Architecture and Arts 2004-2010
Artist statement
I work with various mediums according to the principle
of palimpsest – multiple overlays of pictorial or graphic
layers. The theoretical platform of my artistic practice is
metamodernizm or new sincerity. In this context, I define my
main method by the term "oscillation". Exploring the
fluctuations between the inner and the outer, the personal
and the collective, I turn to the modernist problematic of
the medium. However, I am more interested in the system of
perception itself, rather than the physical embodiment of the
image. In my works, I focus on the performative symbolic
structure of painting. I draw on the experience of Michel
Foucault, on his analysis of the renewed Impressionist
relationship between painting as an object and painting
as an illusory volume. I am looking for ways to articulate
the ambivalence of the very nature of the image – framed
and simultaneously revealed in virtual layers of
consciousness. I am trying to mark the midpoint of the
oscillation, which is localized precisely in optics, in
perception. I am not painting portraits in the usual sense
of the word, but rather creating a reason to doubt the usual
interpretation, the Lacanian Real. In this, I am guided by the
Magritte iteration of surrealism, with its visionary entry into
the logic of conceptual art and even further into the process
of oscillation. I reject traditional aesthetic gradations,
creating a painting-an object with which the viewer
independently comes into visual contact.