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It is known for a long time, that artist’s masterpieces are selfportraing. Speed of glance, body movements, strength of touch are reflected in dinamic shape and graphic hand-writing.
Marina Fedorova uses brush softly and confidently.This sharp professional skill is mixed with swinging, interrupting rhythm of movements and shape arrangement. Breath in and out pause is a frame for a row of visial pictures. Lines, color spots, drawn words are indefinite and as a result they have potential - immanent to our time.
“One Fine Day” is first personal exhibition of the artist, it includes three series of pictures in one space. Three series of “ picture-moment-shot ” inspired by music and color –“Blues story”, by films- “Un homme et une femme”(“Man and woman”), by fashion-“Shoes stories”.
This stories are easly combined, each episode being independent at the same time conected with others by common mood. This light images – somebodies faces, left arm-chairs, shoes as emotional copies of their owners appere from one source – inner film, invented by Marina Fedorova. Caracters, things, advertisments, shops, tv serials obtain their own moment realisation sometimes harmoniouse, but always esthetic.
In halls of “D-137” “One Fine Day” looks like a frieze or a ribon of such shots fixed by paint of time.
Hardly noticed melancoly shading Marina Fedorova’s blues story pictures can be discovered in this very discreetness of happiness in ability of human impression to grow into endless world.
Looking at elegant, sometimes sharp compositions one recalls irreproachable freedom of 60-ies film shots. Feverish gedonism of 40-ies reviving now is the way back from “Last summer in Marienbad” to “Casablanca”, and “Hearts of four” and “Sun Valley serenade” are meeting here.
Marina Fedorova’s exhibition tells us a story of her privat preferanses and ocupations, cafully mixed with extracted shadows of jazz and blues epoch, epoch approaching us, entering our minds throught pictures.
Ekaterina Andreeva
Fedorova spies out life devoid of its everyday smell. It looks almost ideal as if copied from the Vogue pages. Like black and white pictures by Jean-Luc Godard and Alain Resnais, Fedorova’s graphic works are very contained and expressive. Here and now her ‘shots’ betray references to the French Nouvelle Vague as well as to the works of Alfred Hitchcock, Patrice Leconte, Wong Kar-wai and Takeshi Kitano. Her drawings seem to hurriedly retell the stories of her favourite films while pliantly suggesting their new interpretation.
Olga Khoroshilova
Time Out
Natural sense of composition allows Marina to maximally unburden the plane of her works by taking details out of focus for the sake of general views. Fragmentary character of her stories, briefness of set-ups and dynamic framings liberate both the artist’s hand and a spectator’s eye...
Anton Uspensky
Graphics specificities and dynamics of form reflect an author’s bodily plastic, the speed of glance and the strength of touch. Marina Fedorova operates her brush easily and confidently.
Sofia Prokosheva
Nevskoe Vremya
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