Aleksandra Vertinskaya

Classic Roses
07.04.2016 — 24.04.2016, Triumph Gallery

Triumph Gallery is delighted to announce that it is hosting an exhibition of works by Alexandra Vertinskaya entitled Classic Roses. The artist will show a series of more than 40 new works in acrylic on handmade Italian paper.

The title of the exhibition Classic Roses was borrowed by the artist from a song by Alexander Vertinsky based on Igor Severyanin’s poetry, and also reflects her approach to technique and the item being depicted. The main heroes of the series are flowers drawn by the artist from nature: Vertinsky cultivated each of the plants – roses, chrysanthemums, peonies and lilies – in her own garden. The artist drew the flowers as if they had been magnified many times and depicted against a bright background with particular precision, almost in hyper-realistic fashion.

In addition to her paintings, Alexandra Vertinskaya will prepare an installation on the gallery's lower floor.
Alexandra Vertinskaya comments: “I am inspired by beauty, even though recently people appear to shy away from it. The great masters spent all their lives painting and being inspired by nature and were not afraid to do so. In my works I consciously address commonplace beauty, something that has been lacking in art recently.”

On the one hand, Vertinskaya’s new exhibition offers up a seamless vintage: the flowers appear to be growing in the garden of some estate in pre-revolutionary Moscow. To be even more convincing, the artist resorts to her favourite technique – the palimpsest affect, using as a background earlier works and superimposing a new image, layer on layer, thereby opening up the boundaries for new concepts and interpretations. The exhibition Classic Roses, similar to Marcel Proust's well-known Madeleine cake, unlocks in simple things remembrances, the stories of mutual relations, the little tragedies and trifles of daily routine. These fragmented thoughts are visualised as if under a magnifying glass, coming to life at the sight of the flower buds and flowers in full blossom, which are displayed deliberately magnified as if through a loupe.

On the other hand, this exhibition represents a Zen exercise on how to attain a state of full meditation, and addresses topics under a state of transience. It is not only and not so much about the flowers or the object. Instead it represents some kind of proposal of an alternative path, an attempt to reach another visual layer that was once natural for any classic, but now is more likely to lay claim to being a dissident opus. Beauty is the minimum you can expect from the Classic Roses project, while wonder and profundity is the maximum on offer.