I was born and raised in Chelyabinsk, Russia. Chelyabinsk – the city of a fallen meteorite. It was the brightest most existential experience in my life. The ultra-bright skies made huge lances that cut it into two parts, drawing blood bright streaks, shadows of objects running in a circle, like a planet it began to spin in a mad carousel … and then there was an unbearable rumble of rained window glass … It was horrible and beautiful at the same time.
I graduated from the Chelyabinsk State University, where I work. I teach as Associate Professor in the Department of Theory and History of Art and specialise in courses devoted to the history of art, aesthetic, ethic and others. I received the diploma of photographer in the college of South Ural State University. I have been photographing enthusiastically during the last 3 years … There are a few surprising lines belonging to Valery Bryusov. “The shadow of uncreated creatures\ Flickers in sleep,\ like palm fronds\ On an enamel wall…” exactly so, “the shadow of uncreated creatures…”. In my series ‘Light’, the gleam of light bordering on Plato’s eidos has not acquired yet the iconic image clarity. That’s what’s beckoning me, and keeping me both disturbed and surprised… that’s the beauty of the art of photography for me!
That’s just where the photographer’s task is often utterly unpredictable, even to his or her own surprise. Some detail, gleam or a fleck of light, something what Barthes calls the ‘punctum’, which you may not even notice while you dip your eye into the vague space of the lens , will all of a sudden transform into a carcass, a ‘hook’ for a dazzling array of real forms that start piling up in an unthinkable way, in a maze-like colour and composition pattern, to breathe new life into the simulated but artistically justified imagery of the space in a photo. As is well know, even the most realistic style, such as pictorial realism, uses the techniques to just artistically duplicate the look of things that may be already present in the real world.
Photography, in my view, is quite consistent in implementing this principle. I am taking an absolutely minimal role in this process, as I see it: my task is to enhance, and do not harm, what has even been originally present on the photosensitive plate exposed to light in the digital camera. As I am aware, photo-shooting is a great occasion for practicing humility: after all, you’re just “releasing the shutter button” …
Now I discovered a way to create an images with a scanner. This is fantastic! This technique attracts me as a ability to immerse the image in the special “fog”. I use gel for candles to enhance the feeling of immersion in the misty space. I also use movement to make the image more fantastic. In my view, this is a unique feature of scanography as art. You can endlessly experiment with movement. I slightly move the main ‘personage’ – for example, a flower – after the motion of the scanning beam. The most amazing thing is that you do not know – what will be the result in reality. Of course, I use a photo editor. I make a very simple process: changing the contrast, lighting, add a little shades of those colours, which I do not have in the image.
Marina is currently exhibiting as part of the group project “SOFT FOCUS. Women art photography” at Petit Coin Art Gallery, London,UK
Some of her works posted on the website of the Italian «Vogue» in the section of the «Photovogue», including in the category “best of…”
2014 – “Calendae” – exhibition at the Cinema Center, named Leonid Obolensky, Chelyabinsk.
2014 – “Essentia” – exhibition at the Gallery of Modern Art “OkNo” (Chelyabinsk)
2015, March – exhibition at the boutique hotel “TISHINA” in the framework of the project of women’s photography «Soft Focus».
2013 – exhibition project in the framework of the youth festival of video art «Intro», CSU (Chelyabinsk State University).
2014 – exhibition project of abstract photography «Give me T». St. Petersburg – Vladivostok – Khabarovsk – Chelyabinsk 2015, July –