My artistic practice is a constant dialogue with the many aspects of existence and aims to find a reconciliation between society, individuals and nature. My aim is to find a common language between these three elements through the feminine medium of embroidery, which characterizes my practice in the strongest way. For me, embroidery is a serious practice: even though its connotation to the female world has always played against it, it’s a specific medium that allows me to combine different materials together and -at the same time- to include an emotional component into the objects through the use of colours and gore aesthetics.
My research is driven by my will to create an ecosystem where humans and nature are but one symbiotic thing. This primal drive derived from my first batch of studies at the Moscow State University, which were focused on geography and -more specifically- social ecology. Lately, I have started to incorporate memory in my research and practice, both as a subject and as a tool, which allows me to appeal to the influence of my past over my personalityand my work. The past becomes a personal narrative, the emotional side of history which is often overlooked and unjustly dismissed.
The individual and collective history I analyse in my work have a double nature: their distressing character surfaces in my production as love for the macabre and its medieval aesthetics; and my upbringing in the digital era combines them with the narrative of simplified illustration, adding a taste from pop-culture. The resulting art pieces want to highlight the fragility and mortality of human beings: gore objects that show how death is part of the human psyche and has a role of speculative force in the life of individuals.
The objects I create through embroidery are made of both organic and artificial materials: polyethylene is my modern
canvas, which gets filled with soft cotton and is sealed with woollen thread and polished beads. They are a metaphor of human nature: even though we might be surrounded by a hard, manufactured layer, we always have something soft on the inside. And always a story to tell.
My research is driven by my will to create an ecosystem where humans and nature are but one symbiotic thing. This primal drive derived from my first batch of studies at the Moscow State University, which were focused on geography and -more specifically- social ecology. Lately, I have started to incorporate memory in my research and practice, both as a subject and as a tool, which allows me to appeal to the influence of my past over my personalityand my work. The past becomes a personal narrative, the emotional side of history which is often overlooked and unjustly dismissed.
The individual and collective history I analyse in my work have a double nature: their distressing character surfaces in my production as love for the macabre and its medieval aesthetics; and my upbringing in the digital era combines them with the narrative of simplified illustration, adding a taste from pop-culture. The resulting art pieces want to highlight the fragility and mortality of human beings: gore objects that show how death is part of the human psyche and has a role of speculative force in the life of individuals.
The objects I create through embroidery are made of both organic and artificial materials: polyethylene is my modern
canvas, which gets filled with soft cotton and is sealed with woollen thread and polished beads. They are a metaphor of human nature: even though we might be surrounded by a hard, manufactured layer, we always have something soft on the inside. And always a story to tell.
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Chrysalid Gallery curator Marth von Loeben and gallery represented artist Natalia Grezina discussing the artistic practices, inspiration of artwork creating and realizatdion of artistic ideas into practise and art exhibitions.
Market position
Natalia Grezina was born on 4 December 1987. She graduated from Moscow State University (Sevastopol branch), Faculty of Natural Sciences (Geography). Studied contemporary art at Free Workshops (MMOMA, Moscow, Russia). Currently lives and works in Rotterdam, Netherlands.
Creative fields: installation, objects, embroidery, graphics.
The objects she creates through embroidery are made of both organic and artificial materials: polyethylene is her modern canvas, which gets filled with soft cotton and is sealed with woollen thread and polished beads. They are a metaphor of human nature: even though we might be surrounded by a hard, manufactured layer, we always have something soft on the inside. And always a story to tell.
Creative fields: installation, objects, embroidery, graphics.
The objects she creates through embroidery are made of both organic and artificial materials: polyethylene is her modern canvas, which gets filled with soft cotton and is sealed with woollen thread and polished beads. They are a metaphor of human nature: even though we might be surrounded by a hard, manufactured layer, we always have something soft on the inside. And always a story to tell.
CV
Personal exhibitions
2019 ‘Gift’. MMOMA, Moscow, Russia
2019 ‘Under the Mountain’. CCI Fabrika, Moscow, Russia
2019 ‘The Black Sea Always Turns Red’.
RAW Streetphoto Gallery, Rotterdam, Netherlands
2018 ‘Fame’. Elektrozavod gallery, Moscow, Russia
Selected group exhibitions
2019 ‘Blood in the corner of the eye’. The Others Art Fair, Turin, Italy
2019 ‘Technogenic’. Hiedanrannan Kartano, Tampere, Finland
2019 ‘Will you be a witness? 2007/19’ CCI Fabrika, Moscow, Russia
2019 ‘Sans (T)reve et Sans Merci’. Cube Moscow, Russia
2018 ‘Workshop’18: Systems of Secret Symbols’.
Special project of the 6-th Moscow youth biennale of
contemporary art. MMOMA, 10 Gogolevsky Boulevard, Moscow, Russia
2018 ‘Convenient Art’. Special project of the 6-th Moscow
youth biennale of contemporary art. MMOMA,
10 Gogolevsky Boulevard, Moscow, Russia
2018 ‘Artistry’. Special project of the 6-th Moscow youth
biennale of contemporary art. Memorial house of A. Vasnetsov,
State Tretyakov Gallery, Moscow, Russia
2018 ‘U.A...’. XL Gallery, Moscow, Russia
2017—2018: ‘MMXVII*’. Elektrozavod Gallery, Moscow, Russia
2017 ‘ Workshop’17: There, Where No One Has Dreams: From Sacred Geography To No-Place’. MMOMA,
10 Gogolevsky Boulevard, Moscow, Russia
2016 ‘Cultural code. Non-random generation’.
Museum of Tauris, Simferopol, Crimea
2014 ‘Power of light’. Kroshitsky Museum of Arts,
Sevastopol, Crimea
2012 ‘Reconstruction of Idleness’. Faina Gallery,
Sevastopol, Crimea
2010 International festival ‘Balaklava Odyssey’.
Mikhailovsky Ravelin, Sevastopol, Crimea
2019 ‘Gift’. MMOMA, Moscow, Russia
2019 ‘Under the Mountain’. CCI Fabrika, Moscow, Russia
2019 ‘The Black Sea Always Turns Red’.
RAW Streetphoto Gallery, Rotterdam, Netherlands
2018 ‘Fame’. Elektrozavod gallery, Moscow, Russia
Selected group exhibitions
2019 ‘Blood in the corner of the eye’. The Others Art Fair, Turin, Italy
2019 ‘Technogenic’. Hiedanrannan Kartano, Tampere, Finland
2019 ‘Will you be a witness? 2007/19’ CCI Fabrika, Moscow, Russia
2019 ‘Sans (T)reve et Sans Merci’. Cube Moscow, Russia
2018 ‘Workshop’18: Systems of Secret Symbols’.
Special project of the 6-th Moscow youth biennale of
contemporary art. MMOMA, 10 Gogolevsky Boulevard, Moscow, Russia
2018 ‘Convenient Art’. Special project of the 6-th Moscow
youth biennale of contemporary art. MMOMA,
10 Gogolevsky Boulevard, Moscow, Russia
2018 ‘Artistry’. Special project of the 6-th Moscow youth
biennale of contemporary art. Memorial house of A. Vasnetsov,
State Tretyakov Gallery, Moscow, Russia
2018 ‘U.A...’. XL Gallery, Moscow, Russia
2017—2018: ‘MMXVII*’. Elektrozavod Gallery, Moscow, Russia
2017 ‘ Workshop’17: There, Where No One Has Dreams: From Sacred Geography To No-Place’. MMOMA,
10 Gogolevsky Boulevard, Moscow, Russia
2016 ‘Cultural code. Non-random generation’.
Museum of Tauris, Simferopol, Crimea
2014 ‘Power of light’. Kroshitsky Museum of Arts,
Sevastopol, Crimea
2012 ‘Reconstruction of Idleness’. Faina Gallery,
Sevastopol, Crimea
2010 International festival ‘Balaklava Odyssey’.
Mikhailovsky Ravelin, Sevastopol, Crimea