Aks Misyuta
In The Eye of Beauty

25.11.21 – 12.02.22

We are pleased to announce Aks Misyuta’s (1984, Russian) second solo show at the gallery.

For Aks Misyuta, painting is a mass, a bluish block from which figures emerge. Her works produce on us the ef- fect of an Atlantis. An era seems to have evaded us with its codes, rites, objects and images.

In large formats, simple scenes unfold and saturate the space. Bodies are cut out and marked like high reliefs. The painting becomes architectural. The characters are transformed into classical statues with disturbing details. The titles refer, most often, to simple and daily actions, but Aks Misyuta figures a suspended moment totally monumentalized. Her attention makes the features dee- pen, and the muscles swell. The banality is filled with a pre-historic time. A time that empties each wristwatch.

Aks Misyuta fascinates by the extreme lucidity she shows of the constant struggle that makes the artist the guaran- tor of the survival of their own narrative. To be a painter is inevitably to speak to the past while projecting images into the future. The watches she represents are empty, but the bodies are amplified by a disturbing perception of themselves.

If we think we can distinguish motifs from art history, those are modulated from within. The deformation of the subjects’ limbs can be understood as the representa- tion of physical memories of certain situations. The artist seems to try to fix and magnify the sensitive memory of our bodies. Thus, if we follow the track given by the title of some of her works, we can say that we all know these simple and heavy feelings. Aks Misyuta knows that art is essentially a moment of embodied perception.

This body, a fragment of perception, is also the subject of the series of small bronze sculptures. This series of small sketches holds a tiny monumentality, like the one we feel when we listen to our weaknesses and our sorrows.

Thus, we all know the feeling of occupying a body that nothing could dress adequately. We overcome with difficulty the fatigue, this necessary but brutal enemy.

We would like to perceive the festive and joyful back- ground of motherhood. We all try one day or the other to extract ourselves energetically from the mass of our fellow human beings. In short, our bodies have kept the memory of being that baby playing with knives.

The buried continent that Aks Misyuta reveals is ours in all its beauty, tensions and rigidities. But without fear, the artist also lets it be known that we are masters of our memory’s color. The spaces exist to transcend our common destiny.

Samuel Gross

Born in 1984, Bryansk, Russia.
Lives and works in Istanbul, Turkey.




Bryansk State University, Journalism, Russian Literature



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