About Varvara Maximova
Links
Education
2013 - 2018
Moscow State Academic Art Institute named after V.I. Surikov
2008 - 2013
Abramtsevo College of Design and Applied Arts named after V.M. Vasnetsov
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Biography
ARTIST STATEMENT
In her works, the author explores the theme of a modern woman's search for purity and safety through interaction with ethnic jewelry, national costumes, through fitting elements museumized images as an attempt to appeal to the experience of the ancestors.
The artist's paintings also address issues of national and other types of self-identification in the era of globalization. Globalization has brought with it drastic shifts in lifestyle, the topic of gender relations and in the field of self-realization. The human psyche does not have time to evolve and painlessly adjust to new realities: almost every woman now faces new types of fears, cognitive distortions and mental clamps in her life.
To compensate for insecurity and vulnerability, she often consciously and unconsciously brings "ancient" elements of everyday life and costume into her life and appearance, symbolizing concepts such as morality and hierarchy that are scarce in the modern world.
According to the author's deep conviction, folk crafts, decorative and applied arts are the quintessence of the sense of beauty of every nation, and since these phenomena are traditional, passing from generation to generation the character of the generation, then folk costumes, embroidery, jewelry and rituals and customs associated with them are the "vessel of mental health" of each nation. Trying on such things for yourself is a kind of attempt to reach out with your soul to this pure source from the past. These processes are displayed in female images on the canvases of the author
In her works, the author explores the theme of a modern woman's search for purity and safety through interaction with ethnic jewelry, national costumes, through fitting elements museumized images as an attempt to appeal to the experience of the ancestors.
The artist's paintings also address issues of national and other types of self-identification in the era of globalization. Globalization has brought with it drastic shifts in lifestyle, the topic of gender relations and in the field of self-realization. The human psyche does not have time to evolve and painlessly adjust to new realities: almost every woman now faces new types of fears, cognitive distortions and mental clamps in her life.
To compensate for insecurity and vulnerability, she often consciously and unconsciously brings "ancient" elements of everyday life and costume into her life and appearance, symbolizing concepts such as morality and hierarchy that are scarce in the modern world.
According to the author's deep conviction, folk crafts, decorative and applied arts are the quintessence of the sense of beauty of every nation, and since these phenomena are traditional, passing from generation to generation the character of the generation, then folk costumes, embroidery, jewelry and rituals and customs associated with them are the "vessel of mental health" of each nation. Trying on such things for yourself is a kind of attempt to reach out with your soul to this pure source from the past. These processes are displayed in female images on the canvases of the author
