MARGO TRUSHINA
Statement
Margo Trushina explores metaphor, communication and public participation through site-specific installations, sculptures, live performances and interventions. Her work is optimistic in its reflection of moments of shared experience, often incorporating signifiers of celebration and communal gatherings.

Margo Trushina's latest sculptural series explores how humanity perceives and experiences our environment and its physical and metaphysical lines and boundaries.
Using natural and artificial materials such as plants, metal, stone, wood, photographs and found or collected objects, artist employs the methodology of insinuating meaning through contrasting the artificial and the organic, and bringing to surface the underlying tensions between these opposites.
Often employing the use of synthetic materials parodying those of nature, these works beckon the viewer to suspend their knowledge of the image as a constructed fiction, and imbue them with their beliefs and fantasies. It is the interstice between the instinctual action of perception and the logic of comprehension that fascinates the artist. Experience is rendered both physiological in her works through an accentuation of the gap between the rational expectational of an occurrence and its correlation with the visceral experience of it.
Background

As a student i was inspired by the works of Russian avant-garde artists, designers and architects, such as Kazimir Malevich, Vladimir Tatlin, Yakov Chernikhov, and El Lissitzky, intrigued with the sleek curves and dramatic diagonals in their drawing.

My steel sculptures incorporate the dynamic angles and sharp incisions and refer to Russian Constructivist and Suprematist sculptures. They also continue my investigation into the ideas of time and space, reality and illusions, place and non-place.
My sculptural works/installations also could be associated with images in traditions of sci-fi aesthetics: cyberspace architecture, molecular structures, micro/macro schemes, cells, nets etc. The reason I am engaged in geometric art is that through my work I wanted to express emotions and thoughts linked to the infinitive organization of the world and its structure.


My recent works deal with the mechanisms of perception and the complexities of our relationship to space. I am working on architecturally-inflected installations and habitat-like outdoor sculptures, that invite us to consider how build spaces function as social, psychological and perceptual environments.

The insertion of sculptures and drawings into the gallery context has produced complex architectural scenes, which both absorb and are absorbed by the viewer. They invite the viewer to move through the work, drawing out meanings over time. And, through varying modes of interaction, they involve activities that draw on personal memories, cultural references and imagined scenarios.

Mirrors and mirroring would remain a consistent element in my work both in their literal use, on one hand, and in their implicit function as an ordering principle, on the other. Using of the reflective materials such as mirrors and mirrored stainless steel introduced a new ingredient into my sculptures: the viewer, whose image was combined or superimposed on that of other viewers and reflections of the surrounding environment. Viewers thus become aware that they were the primary objects of perception, and could see themselves caught in the act of looking at a work of art. Work could deploy the promise of a reflected image to throw the function of sight into confusion. This slightly annerving condition altered their experience of the work of art and drew them unwittingly into a web of phenomenological ideas.

Thus, my interest lies in exploration of non-places or imaginary space, meaning that do not attempt definition, the incidental, the pause, or the possibility of something hidden or unknown. My vision establishes a certain kind of point of departure not so much toward the idealistic notion of perception, but all the different breakdowns within perception. I am interested in zeroing in on those aspects of mental experience that somehow coincide with the physical world.

I continued the exploration of the Phenomena of Utopia in my next projects.

Through my work i am attempting to question the credibility of the ideas found in utopian architecture not in its functional guise but as a site of desire, memory and doubt, home to personal contingencies and collective histories, the clashing of cultures and coalescing of subjectivities.

I am in the habit of photographing my sculptures in a variety of arrangements and from a number of different angles. Some of the resulting images were intended to be used as a documentation, but, primarily, they reflect a significant aspect of my working method, which can be appreciated only by considering the full range of contemporary images taken of any one work. Photography is a second, relatively invisible aspect of my working method. Some photographic images of the sculptures establish a visual harmony between the diminishing size of the work and the receding space of the room in which the work is placed through my choice of the camera's location and lens angle.

These photographs reveal the terms of the stepped form's transformation from two-dimensional objects in rendered space into three -dimensional sculptures occupying actual space.

This transformation process is not a smooth one, and viewing the sketches, photographs, and sculpture in relation to one another renders visible the gaps.