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Olympia
Zoya Falkova • Painting, 2017, 80×120 cm
Description of the artwork «Olympia»
The work is part of the personal exhibition "Modernization of creation" (Almaty, Esentai gallery, 22.06-24.07.2017)
It is an attempt to study and deconstruction of gender stereotypes by art, without abandoning the imposed attributes, but using it as an artistic tool. So, soup — a symbol of kitchen slavery, being a Prime substance that becomes a paint, starched bed sheet is your canvas, and twisted for wringing doormat turns into a flower. Symbolic cover — poppy field in the middle of which is all recognizable toilet with deliberately reversed "W" and "m" — the battlefield, the symbol of time of ripening, when the "W" sharper begin to realize their differences and imposed by society constraints. "m" is erected in a cult, and all the soup and starch the sheets, all the blood and endless work in the field of clean is dedicated to him. Lying in languid poses of Venus and the Olympia, becoming a Leda and the Madonna, he finds the religious aura of the fetish, becomes the Supreme being of this universe kitchen. But somewhere in the process of deification becomes objectification, and the viewer catches himself thinking about homoerotica, he discovers just how accustomed to ascribe objectivism view only "male" in nature, placing "women's" only function of the domestic service. Even the pathos of "women's higher purpose of" checking too is service. Here, on this solemn podium, floral vignette, collected from dirty mops. In the alcove, "azinsurance" part of the exhibition too, they are in dialogue with dominant over them "the Origin of the world", performed the same soup on crisp, an old and much-traveled cover.
It is an attempt to study and deconstruction of gender stereotypes by art, without abandoning the imposed attributes, but using it as an artistic tool. So, soup — a symbol of kitchen slavery, being a Prime substance that becomes a paint, starched bed sheet is your canvas, and twisted for wringing doormat turns into a flower. Symbolic cover — poppy field in the middle of which is all recognizable toilet with deliberately reversed "W" and "m" — the battlefield, the symbol of time of ripening, when the "W" sharper begin to realize their differences and imposed by society constraints. "m" is erected in a cult, and all the soup and starch the sheets, all the blood and endless work in the field of clean is dedicated to him. Lying in languid poses of Venus and the Olympia, becoming a Leda and the Madonna, he finds the religious aura of the fetish, becomes the Supreme being of this universe kitchen. But somewhere in the process of deification becomes objectification, and the viewer catches himself thinking about homoerotica, he discovers just how accustomed to ascribe objectivism view only "male" in nature, placing "women's" only function of the domestic service. Even the pathos of "women's higher purpose of" checking too is service. Here, on this solemn podium, floral vignette, collected from dirty mops. In the alcove, "azinsurance" part of the exhibition too, they are in dialogue with dominant over them "the Origin of the world", performed the same soup on crisp, an old and much-traveled cover.
