The photography actualizes the shape; the status and condition are put outside the brackets. The picture is the modality of developed in the gap between alive or deceased. Each shape is the Golem. Nonliving sub- stance. The assembly material. Alchemy is always a deal.
Space is penetrated by this tranquility. Space like the regularity of nonspatial essences. The human being can’t achieve the order, but his eyes aspire it infinitely. The desire for destruction is ineffective us- age of the shape, the substitution of creativity and utility. To misuse, disassemble and look, what is inside and how it burns? To burn for the sake of pleasure from the are. And in the relations with alike – on the other side from the symbiosis.
For a joke to reassemble you to thirty non-organic chemical elements. For someone else to create a new life form, using the same material, but in the new sequence. This project uses the method of deconstruction as the method of work with the picture and the method of assembling the narrative.
Photography can also be used as a mechanism to examine itself. In her series Empty Expectations, Russian photographer Ksenia Yurkova (1984) expresses the process of photography. Thinking of the way that visual constructions can be expressed verbally, and vice versa, as well as the way that the subsequent reading of a translation can result in a semantic loss, Yurkova creates her images with a conglomeration of collages, Photoshop manipulations, and chemical experiments with lm and paper. She combines these photographic works with illustrations from two old books, a handbook of forensic science and a handbook of gynaecology, desiring to imbue her heavy minded philosophy with some ironic levity. Overall, she treats the series as an ‘alchemy manual’, a set of practical experiments related to the visual meaning of photography and its translation.
Ksenia Yurkova – St. Petersburg-based photographer and artist, working with art-photography, book and multimedia projects.