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"There is a certain presumption of integrity, delegated to the nature and traditionally embodied as a sight of the landscape. Equally habitually, we contrast nature’s entirety with architecture, fragmenting space, and in general all our culture and civilization, as something extra-natural and splitting the world. However, in the installation by Fedora, we see first of all the disintegration and fragmentation of natural wholeness, we apprehend its unity as an artificial construction with missing parts. Visually, Fedora Akimova’s installation by means of traditional painting imitates the technogenic optics of photography. Yet, this painting is disturbed by needlework, depriving the picture of the medial uniqueness and turning it into a semiotic chimera, hovering between the picture and the object. Even more chimerical are the images of animals, which embroidery on canvas places in the landscape idyll as if made to interpret them through the code of the Russian magical forest. However, immediately in them appear impossible fusions of bodies of predators and herbivores, sometimes even birds. Moreover, the very substance of their loosely embroidered bodies is obviously from another world, more likely from the world of spirits and images than from the forest surrounding them. They are made from the same substance as dreams, although without Shakespeare's or human passions in general. But the paradox is that, that like embroidery, they belong to a reality common to the embroiderer and viewer, and therefore closer to our world than the convincing illusion of painting". (Alexander Evangely)
"There is a certain presumption of integrity, delegated to the nature and traditionally embodied as a sight of the landscape. Equally habitually, we contrast nature’s entirety with architecture, fragmenting space, and in general all our culture and civilization, as something extra-natural and splitting the world. However, in the installation by Fedora, we see first of all the disintegration and fragmentation of natural wholeness, we apprehend its unity as an artificial construction with missing parts. Visually, Fedora Akimova’s installation by means of traditional painting imitates the technogenic optics of photography. Yet, this painting is disturbed by needlework, depriving the picture of the medial uniqueness and turning it into a semiotic chimera, hovering between the picture and the object. Even more chimerical are the images of animals, which embroidery on canvas places in the landscape idyll as if made to interpret them through the code of the Russian magical forest. However, immediately in them appear impossible fusions of bodies of predators and herbivores, sometimes even birds. Moreover, the very substance of their loosely embroidered bodies is obviously from another world, more likely from the world of spirits and images than from the forest surrounding them. They are made from the same substance as dreams, although without Shakespeare's or human passions in general. But the paradox is that, that like embroidery, they belong to a reality common to the embroiderer and viewer, and therefore closer to our world than the convincing illusion of painting". (Alexander Evangely)
"There is a certain presumption of integrity, delegated to the nature and traditionally embodied as a sight of the landscape. Equally habitually, we contrast nature’s entirety with architecture, fragmenting space, and in general all our culture and civilization, as something extra-natural and splitting the world. However, in the installation by Fedora, we see first of all the disintegration and fragmentation of natural wholeness, we apprehend its unity as an artificial construction with missing parts. Visually, Fedora Akimova’s installation by means of traditional painting imitates the technogenic optics of photography. Yet, this painting is disturbed by needlework, depriving the picture of the medial uniqueness and turning it into a semiotic chimera, hovering between the picture and the object. Even more chimerical are the images of animals, which embroidery on canvas places in the landscape idyll as if made to interpret them through the code of the Russian magical forest. However, immediately in them appear impossible fusions of bodies of predators and herbivores, sometimes even birds. Moreover, the very substance of their loosely embroidered bodies is obviously from another world, more likely from the world of spirits and images than from the forest surrounding them. They are made from the same substance as dreams, although without Shakespeare's or human passions in general. But the paradox is that, that like embroidery, they belong to a reality common to the embroiderer and viewer, and therefore closer to our world than the convincing illusion of painting". (Alexander Evangely)
"There is a certain presumption of integrity, delegated to the nature and traditionally embodied as a sight of the landscape. Equally habitually, we contrast nature’s entirety with architecture, fragmenting space, and in general all our culture and civilization, as something extra-natural and splitting the world. However, in the installation by Fedora, we see first of all the disintegration and fragmentation of natural wholeness, we apprehend its unity as an artificial construction with missing parts. Visually, Fedora Akimova’s installation by means of traditional painting imitates the technogenic optics of photography. Yet, this painting is disturbed by needlework, depriving the picture of the medial uniqueness and turning it into a semiotic chimera, hovering between the picture and the object. Even more chimerical are the images of animals, which embroidery on canvas places in the landscape idyll as if made to interpret them through the code of the Russian magical forest. However, immediately in them appear impossible fusions of bodies of predators and herbivores, sometimes even birds. Moreover, the very substance of their loosely embroidered bodies is obviously from another world, more likely from the world of spirits and images than from the forest surrounding them. They are made from the same substance as dreams, although without Shakespeare's or human passions in general. But the paradox is that, that like embroidery, they belong to a reality common to the embroiderer and viewer, and therefore closer to our world than the convincing illusion of painting". (Alexander Evangely)
"There is a certain presumption of integrity, delegated to the nature and traditionally embodied as a sight of the landscape. Equally habitually, we contrast nature’s entirety with architecture, fragmenting space, and in general all our culture and civilization, as something extra-natural and splitting the world. However, in the installation by Fedora, we see first of all the disintegration and fragmentation of natural wholeness, we apprehend its unity as an artificial construction with missing parts. Visually, Fedora Akimova’s installation by means of traditional painting imitates the technogenic optics of photography. Yet, this painting is disturbed by needlework, depriving the picture of the medial uniqueness and turning it into a semiotic chimera, hovering between the picture and the object. Even more chimerical are the images of animals, which embroidery on canvas places in the landscape idyll as if made to interpret them through the code of the Russian magical forest. However, immediately in them appear impossible fusions of bodies of predators and herbivores, sometimes even birds. Moreover, the very substance of their loosely embroidered bodies is obviously from another world, more likely from the world of spirits and images than from the forest surrounding them. They are made from the same substance as dreams, although without Shakespeare's or human passions in general. But the paradox is that, that like embroidery, they belong to a reality common to the embroiderer and viewer, and therefore closer to our world than the convincing illusion of painting". (Alexander Evangely)

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Another forest 3 Painting

Fedora Akimova

Georgia

Painting, Oil on Canvas

Size: 20.1 W x 22.4 H x 1.6 D in

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$3,295

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133 Views

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"There is a certain presumption of integrity, delegated to the nature and traditionally embodied as a sight of the landscape. Equally habitually, we contrast nature’s entirety with architecture, fragmenting space, and in general all our culture and civilization, as something extra-natural and splitt...

Year Created:

2018

Subject:

Animal

Styles:

Dada

, 

Pop Art

, 

Surrealism

, 

Conceptual

 

Mediums:

Oil

, 

Textile

, 

Canvas

, 

Wood

, 

Other

 

Mediums:

Painting, Oil on Canvas

Rarity:

One-of-a-kind Artwork

Size:

20.1 W x 22.4 H x 1.6 D in

Ready to Hang:

Yes

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships in a Box

Delivery Cost:

Shipping is included in price.

Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Returns:

14-day return policy. Visit our help section for more information.

Handling:

Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

Georgia.

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Contact us.

Need more information?

Contact us.

Fedora Akimova is a mixed-media artist specializing in installations, video, and objects. In her work, she often incorporates various textile practices such as embroidery and sewing, as well as found objects and ready-mades. 
Fedora Akimova was born in 1987 in Kyiv. Since March 2022, she has been living and working in Tbilisi (Georgia) and Paris. Before February 24, her work consisted of plastic experiments that explored global civilizational and philosophical questions, embodying a form of escapism into a hypothetical world without humanity. The full-scale invasion, forced relocation, and the disruption of her daily life prompted her to reconsider her identity and artistic strategy. This led to a reinvention of her artistic language and the inclusion of more politically and socially engaged themes in her work.

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Artist featured by Saatchi Art in a collection

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