Inna Grinchel Void. Part I. Feminine Automatic translate

The Void project is a series of paintings, almost monochrome, depicting desolate, similar landscapes, with a barely drawn horizon, where there is nothing to stop the eye - whether it is the sea, or a snowy desert, or fog over a swamp. To create visual tension, drama, contrast, the author uses an alien element, the product of female home routine practices, conditionally a hundred years ago - napkins.

How can we talk about EMPTY with paints and canvas, and how do parts of knitted napkins help in this?

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The symbols of the past petty bourgeois, as well as the noble and peasant coziness become new suns, moons, UFOs, birds and sprouts in the landscape. These worlds are still completely new, or vice versa, so old that everything is already swept away. Early morning or evening, white night or cloudy day, universal twilight. Emptiness gains a center around which a new story can develop. Found things become the dominant and sacred element of the newly created worlds.

Inna Grinchel,

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Objectivity and non-objectiveness are combined in the compositional unity of various and contradictory practices: painting and needlework. Meanwhile, it is this connection that brings unexpected cognitive depth to the visual space. In her almost monochrome canvases, the artist represents the world at a time when time has not yet begun or is already absent, and this changes both the concept of space and our attitude to it. Emptiness as a state, premonition, opportunity. This is an ideal place for meditation and expanding consciousness beyond the limits of life experience. From this substrate, which contains the essence of the universe, eternal femininity emerges as the source of all further emanations of being. It is embodied in the magic of everyday routine practices that sublimate female sexuality into all the variety of visible forms. Emptiness as the essence and essence. This idea, present in Lao Tzu and Zen Buddhism, is drawn by the artist in the works presented at the exhibition. The perception of the exhibition is aimed at the rejection of forcibly created meanings and immersion in the depths of the soul, peace, emptiness.

Elena Grigoryants,
art critic

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The grayish atmosphere of oil canvases is presented in easy internal movement. The works immerse the viewer in the uncertainty of calm, bring a feeling of oblivion and intellectual concentration. The void opens in the infinite potency of possible novelty, hidden in the simplicity of an imaginary landscape. The state of arbitrary cold flow in horizontal lines of universal unity is likened to a pristine environment, clear of trifles. Neutrality of emptiness as a hidden intrigue beckons to open the veil of secrecy. The completeness of the paintings is solved delicately, in a minimal gesture, like a whisper of the wind.

Nikolay Suvorov,
Doctor of Philosophy, Professor

Inna Grinchel is an artist, designer, curator and participant of numerous exhibitions. He works in different genres, provokes the viewer with an unexpected look at the usual things (the project “Furniture made of artist’s skin”, a collection of jewelry and copyright books made of paper and ash and others). His works are in the collections of the State Russian Museum, the Hermitage Library, the Erart Museum, the Museum of Applied Art and Design in Tallinn, the Leather Museum in Offenbach, the Jewelry Museum in Pforzheim and others.