Yelena Popova | CV.pdf | Exhibitions | images

Soft and dusty colors of Yelena Popova’s abstract paintings which appealing to the art of Soviet Constructivism is the basis of her style. Popova is experimenting with compound of paints. The main feature of it is transparency (Balance of Probabilities, 2011). The installations are often includes round-shaped and rectangular canvases which opposed to each other on the symbolism of form but complement each other in composition.

Popova’s paintings are made for long discussion with different points of view, they can’t be passed by viewer just with a quick glance.

Artist explores themes of contrasts, harmony and balance, both in the aesthetic and in the metaphysical field. They are manifested not only in paintings and installations but also in the video. "Videos are crucial because they ask the same questions as the paintings but at different levels." Popova does not answer the questions in her works but ask them. She affects such topics as consumption of art, communication image of artwork of and the real artwork.
One of the most successful Russian-born artists living in London Popova often reflects the heritage of the Soviet and Russian artists and the history of Russia.

Yelena Popova was born in Russia in 1978. She graduated from the Royal College of Art, now lives and works in London.

Osnova gallery is pleased to present solo show by Yelena Popova ‘This certifies that’.

12.09.2017 - 15.10.2017

August 31 – September 3, 2017
Osnova gallery is delighted to present its leading artists Nika Neelova and Yelena Popova on Code Art Fair, which will be held in Copenhagen, Danmark.
The works by artists Nika Neelova and Yelena Popova explore and experiment with the possibilities of art production in general. The artists spiecially created a new project for this event. Yelena's practice calls in question what painting can be and how it can work nowadays. Her art pieces pull the stories of abstraction into sharper focus and show painting's materiality. The recent Chemical Landscapes and Human Studies series pose a question of human endurance and presence. Like Tarkovsky’s film Stalker, Nika Neelova’s work is loosely based on the idea of a possible dissolution to our attachment to reality. Through exploration of the possible future of geology the work exposes the modified ruins and techno-artefacts of a human dominated environment crossing various historical periods. Needless at first thought objects set against the movements of the earth and deep geological time. Exploring fluidity of matter through time, the work suggests the view of the world as a set of flows running in parallel to one another.

March 3 - April 9, 2017
Blue.Seventeen is a post-apocalyptic landscape that exists in the world “without us”: on the planet where we still exist as a species, leave traces — however, in this very moment we’ve stepped back, and from the active agents turned into spectators, detached from the action itself. Imagine the flight mode in a computer game, when one’s role of a player is replaced by the position of a scenery watcher: the one who got stuck in the moment, when the so-called present has not yet fallen into the past in order to free the space for some upcoming future. Here the linear passage of time is replaced by the relationship of co-composition amongst things and events, which are intentionally deprived of duration — the parameter that is inherently human-specific, as it is imposed by human determinism. Here the processes of production and consumption once reached its critical speed; and then “everything was so slow that even death became impossible, because dying itself was extended over such a long periods that it has become unbearable and no one wanted to die anymore.” (Neelova, 2016)