Kat Suryne is an artist from Belarus will have a residence in Tartu during all June. She will use and learn printing techniques in the Estonian Printing museum.
“I started studying drawing and painting in 2000 and graduated from Hrodna Secondary Art School in 2004 with excellence, in 2005 I took courses of linocut and monotype there. After my entrance to Belarusian State University, I took a break of panting and devoted exclusively to philosophy. I got back to panting and launched my artistic career in 2013 while studying for my second Master degree at the University of Tartu, Estonia. A highly inspirational atmosphere there enabled me to start realising my dream of developing both academia and art in parallel with success, which I have harboured for many years. I was invited to participate in two art projects by Mexican artist RSM, the results of which was exhibited in Tartu in May 2014. Although my research work concerns biosemiotics and philosophy of mind, the issues of self and subjectivity are persistent throughout my art and academia.
I do not intend to connect my academic research with my artistic practice in principle as I think that the difference is the major source of energy and creativity for both activities. In art, I prioritize the human figure over everything else and try to express the self of the character by offering a look of the Other on the spectator to nourish her illusion of having an integral image of herself, to borrow Lacan’s expression. I seek for unexpected effects by combining a traditional canon of depicting the human body with abstract elements and organic patterns. I want my art to create consistent and immersive secondary worlds, which would throw a spectator out of her daily activities and concerns for a moment.”
Description of the project
Title: Déjà Rêvé
Media: Mixed on solid canvas
Dimensions: 4-5 artworks 60x80cm each + handkerchiefs.
The project deals with the memory of things and settings, particularly, their ability to be read as symbols, which set the perspective for creating unlimited set of variable possible worlds. Traditionally, the mirror is one of the things that have the biggest sense load, and, due to a detached and alienated character of our mirror image, we tend to perceive it as the image of the other who conceals her possible world. Thus, the works will be focused on possible worlds suggested by vintage things and retro settings, and demonstrated in the mirror. The mirror on each work will contain the reflection of a female character, whose appearance suggests an epoch to which a particular ‘possible world’ pertains: 70-80s, 50-60s, 30-40s and 20s. Technically, the works will combine elements of engraving, drawing and painting.
Some examples of her work:
