The girl Painting

Olesya Gonserovskaya, artist, muralist, illustrator In her projects Olesya is inspired by the ability of people to communicate using contexts, cultural codes and connotations, as well as their ability to read between the lines and read the implied. Some of the cultural codes become relevant, some become obsolete, and the anrtisi is interested in checking how an outdated phenomenon can be rebuilt and resurrected. And what’s gonna be left. For example: Alphabet (2022), where she turns Soviet proverbs into everyday metaphors, The Little Dutches (2018), where Olesya quotes Hermitage classics on the walls of a factory in an industrial area, Rain Catalogue (2017), where she writes forgotten names of rains on firewalls using stylized Morse code. She sees communication as a sign of animateness. From one project to another, she keeps asking questions about the origin of life and self-consciousness without much hope for a definitive answer. In these searches, the artist is accompanied by the theme of corporality and human memory. For example, Ashes (2018), where she draws imperfect human bodies with ashes. The starting point for a project is often biological theories: PAIC, a follower of LUCA, (2020), where she is looking for a future artificial intelligence ancestor, Tulpa, (2022), where Olesya grows her double using waste composting. Sometimes Olesya likes to joke in projects and allow ambiguity in their interpretation. Often her project can be described as a question without an answer. Or a joke without an addressee. Olesya tries to stick to as wide a range of art mediums as possible with respect for the planet and those around her. She appreciates the audience's ability to participate and the potential for site specificity. Among her favourite art mediums are those who are alive and ready to fight back in my work, to show their will (plants, compost, mold), or who imitate interactivity (drawing with ink and other materials, painting, monumental drawing, media art)