Alexandra Sukhareva is an artist, author of processually oriented works affecting the phenomena of mutual influence of matter and cognitive gestures.

An important place in Alexandra’s work is given to the use of chemical compounds. The first chlorine canvases that went through their own evolution were created in 2011. Being essentially burnt and injured, these canvases were not so much painterly objects, as they were playing them.

Since 2013 Alexandra Sukhareva has been working with the mirror form as an expanded metaphor of connection, firmly and invisibly connecting reality and supersensible being. The artist makes mirror paintings using original technologies of the XVII century, using various toxic alloys. The amalgams applied to the glass are unstable, and the oxidation process cannot be controlled. This effect is what the author needs: in theory, the pattern that is formed on the surface of the mirror bears the imprint of an immaterial influence of the environment. In the becoming mirror, everything that surrounds it is reflected and "remembered" — not only objects and faces, but also events that last in time, inhabiting the minds of people thought forms and memory of places. So an ordinary object (a mirror) turns out to be a kind of "recording device" that stores on the external level what is internal that cannot be otherwise fixed — the magic of everyday life, historical trauma, hidden projections of the individual. – Sasha Obukhova

In 2014 Sukhareva started to compile her own author’s Glossary: a working dictionary of internal methodology, which included meaningful notions of “pseudomorphism”, “practical knowledge”, and others. All of them were conceived by the author from within her own practice. The Glossary was presented in 2015 at ICA (London) for the first time in a conversation with curator Kasia Redzisz.

One of the concepts of the dictionary, important for the context of the first experiments with chlorine, is the “corrosivity” of matter, understood by the author more widely than just the material.

«Our elements tend to deoxidation. And life is a forced oxidation” (Novalis). If for Novalis, oxidation processes are akin to the concept of debt, for these works oxidation or corrosion is an experimental platform for non-rhetorical forms of knowledge recording. The ability of a thing to remember the shape or quality allows one to establish marks of knowledge, afterwards naming them the laws of physics or chemistry, ethics or politics. Chemical aesthesia deals with the problems of forces described and not yet described that can be detected through the trail”.

Participant of such exhibitions as “Things, words and consequences” – MMOMA, Moscow (2012), dOCUMENTA(13) – Kassel (2012), “Human Commonalities” – Vadim Sidur Museum (2016), Garage I Triennial of Russian Contemporary Art – Garage Museum of Contemporary Art (2017) and others. Participant in the grant program of Garage Museum of Contemporary Art, 2016.

The works are in the collections of Castello di Rivoli Museum (Turin), Tate Modern (London), as well as in private collections in Mexico, Italy, Great Britain and Russia.