Daria Irincheeva
Bio: My artistic practice currently consists of working with sculpture, painting and video. Through such media, I explore the processes of language, history-construction, memory-colonization, information-fossilization, temporal repetitions and dead ends in time. My personal exhibitions include Empty Knowledge at Christie’s, Moscow, 2017; and Circadian Rhythm at Postmasters Gallery, NY, 2014, among others. Group exhibitions include It’s OK to change your mind! at Museum of Modern Art of Bologna, 2018; and Dreaming Russia, Albertina Museum, Vienna, 2014, among others. I participated in the programs of the 2017 Whitney Biennial; and In Response: The Arcades at the Jewish Museum, 2017, NY.
Thesis Exhibition
Artist Statement: We each as individuals live in what could be described as “our own worlds”, defined by the criteria which we each assign as the parameters to what we consider our chosen reality. This ‘reality’ consists of the choices we make that manifest as the ‘media bubbles’, ‘echo chambers’ and ‘feedback loops’ which prevent us from accurately perceiving the world around us. Simultaneously, we exist in a common reality defined by the attempts to record histories of moments in time that are revised and rewritten as new discoveries are made, there are changes in political leadership, and undesirable elements of past realities are eliminated. This leads to the dilemma of only grasping fragments of the events around oneself, rather than clearly understanding a whole ‘picture’. Meanwhile, each culture, society, or similar subdivision of peoples make attempts towards the ‘unification of reality’ through the publication of journals, the collation of information in encyclopedias and at present through the myriad forums made possible by the internet. These attempts fuel our desire for future prognostication, which is, in actuality, our desire for an understanding of who we are, where we are, and where we’re going.
My work touches upon concepts of ‘fossilization’ of information, various means of communication and their obsolescence, attempts to decipher and understand a made-up language, and glimpses towards evolutionary forms of human non-verbal communications. My work attempts to not only illustrate the fragmented nature of reality, but to offer a thought-provoking path towards understanding through the juxtaposition and superimposition of empirically-based, rationalist methodologies with intuitive, shamanistic-alchemical representations.
L to R: Quipu #7015 (70 x 85 x 1”, Crystal resin, 2017); Keyboard #74 (19 x 7 x 1”, Plastic, spray paint, 2016); Portal #012 (55 x 16 x 4.5”, Ceramic, crystal resin, gold leaf, wood, metal, mash, paint, paper, 2017-2018)