Sveta Antonova

wire piece 3 [inspired by ‘Amusing Ourselves to Death’, N. Postman]
2014_01_wirepiece (1)


Read Me

‘perhaps no one thinks this sentence’

The ephemeral state of my works evolves from connecting my aesthetic system with linguistic and social paradoxes.

By aesthetic system I mean the topic of aesthetic neutrality and the way of working within it which I have developed for myself.  Using perspex, resin, labels and metal I create an alien state in my works, which is distanced from emotion or warmth.

The piece dissociates itself from the viewer, but the more one interacts with the words within the installations, sculptures and performances, the more personal they become.

Everything I produce looks into the subject of written language and its meaning. For example, within a long, transparent perspex piece coming out of the wall, the lettering ‘read me so I can hear myself’ is lasered onto it with digitalized handwriting.

I start building ideas and adapting the material and space to it, so the appearance of my work is constantly in flux with the core remaining the same. In this process I aim for the ultimate realization of an idea, without any distraction from the concept, which results in a minimalist use of material and colour.

My practice is often described as collapsing and whispering, despite the solid and strong materials – a paradoxical perception I am aiming for.

Currently, this intentional paradox in my practice focuses on a subtle form of provocation. The wall installation of seemingly machine-made metal letters is only readable whilst walking around the room. Trying to depict the writing, the mind does not realise what was just read, tricking the viewer into multiple attempts of reading. Finally read, the piece reveals a rather unfriendly quote about the question of the end of humankind.

About the Artist
My practice merges social and linguistic paradoxes together with the impossibility of aesthetic neutrality. Nothing starts from a neutral base – especially not a white cube. I start building ideas, then fit the material to it; means the work constantly changes its appearance, with the core remaining the same. I am aiming for the ultimate realisation of the idea, so the actual material itself has to be adaptable to the context.

The opposite of my work is playfulness and emotion. Everything I produce seems to dissociate itself from the viewer at first and becomes more personal the more one interacts with the words within the installations, sculptures and performances. A subtle provocation in the ephemeral states of my work is always present. Currently I take quotes to be transformed into installations via laser cut perspex or seemingly machine made metal pieces. Those look artificially perfect due to their materiality but contain a personal gesture for example through the use of handwriting. Words and transparency are my main tools as ‘we misunderstand us the best when we talk’.


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