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Ina Abuschenko-Matwejewa
GERMANY
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“We occupy space, and our body is of the space we live in, the container of consciousness.”
Ina Abuschenko-Matwejewa was born 1969 in Bernau. She studied German literature & linguistics and Fine Arts at Humboldt University of Berlin. She also studied painting and graphic arts from 1991 to 1996 at the State University of Fine Arts in Dresden. After obtaining the diploma, she continued her education at the Berlin Summer University of the Arts, where she received her master’s degree after finishing the course of study “Art in Context.” With the birth of her daughter in 2008, she went to Eberswalde. In addition to her artistic activity, since 2010 she has been working at the Hospital for Forensic Psychiatry Eberswalde as an art therapist and as a movement therapist as well.
Waiting for the rain, No.1 | Gouache
$4,000
19 X 16
The works are three-dimensional and framed in high-quality object frames with anti-reflective glass.
Her exhibitions took her over half of Europe. She received numerous artists’ grants and prizes such as the one of the Foundation of Funding Culture Berlin, Villa Serpentara, studio scholarship of the Academy of Arts, arts-promotion award of the State of Brandenburg, and finally the Norway Scholarship funded by the Ministry for Science and Culture of Brandenburg to name a few.
waiting for the rain, No. 2 | Gouache
$4,000
19 X 16
The works are three-dimensional (cardboard) and framed in high-quality object frames with anti-reflective glass.
Her artworks living from the exciting interplay of light and colour have been shown in many exhibitions and art galleries. Inter alia, 2019 at KunstHaus Potsdam, in the AE-Galerie Potsdam, 2018 at Meissen Art Association Querung together with the artist fellow Andreas Schmid, 2017 at the Eberswalde exhibition “White Shadows – Routes through the abandoned paper mill”, organised by the Endmoräne e.V.
“My work is born on the engagement between painting and space.”
In 2017 her series of artistic events named “Shadow Men” within the scope of “The criminals of the Lady A. – On the way to Ovartaci opera project was presented in the workshop of the Berlin State Opera. In 2016 in cooperation with the photographer Barbara Schnabel, she displayed her works in the gallery Mutter Courage in Berlin, 2015/2016 “Tragweite” in dkw Museum Cottbus, 2014 “Oppetreppe” in the gallery of the Schwäbisch Hall building society, 2013 “Poesie des Fragment” in Cloister Chorin and much more others.
camp No. 1 | Gouache
$2,000
14 X 30
Side view of the work; painted on drawing cardboard, mounted on museum cardboard.
Side view of the work; painted on drawing cardboard, mounted on museum cardboard.
From the Giordano Bruno cycle; the work is three-dimensional (cardboard) and framed in a high-quality object frame with anti-reflective glass.
speranza | Gouache
$3,000
23 X 23
After an initial training in art history, German studies and education at the Humboldt, she studied Fine Art at the Dresden Academy with a particular emphasis on painting and graphics. From the outset, however, unlike artists like Thomas Scheibitz and Frank Nitsche of the same generation at Dresden, their focus has been consistently based upon a more constructivist and modernist approach. But more than that upon what might be called the frangible aspects of construction and assemblage. Mark Gisbourne, 2011.
“The mantra to keep the autonomy of an image is an image, but at the same time acknowledge and incorporate through referent its thing-like reality, as being derived from the spatial world.”
“It should be noted that many of the great sculptures of modernism have often been made by painters or might graphic artists by training.”
It is evident in this respect that she often works simply with paper. Paper the first place of design (drawing), paper the location of first thoughts, paper upon which we write, paper upon which we print our books, paper which for many hundreds of years has been the first site of creative human expression. Paper is pliable, paper is flexible, paper is the first and most immediate material of a graphic system. Paper reminds us constantly that as Stephane Mallarme concluded the perfect poem would be a blank sheet of paper, and wherein if a poem or image is expressed it must be spatially arranged and visually imagined, for not just the word as sound but also the visual nature of its presentation presupposes the wider inclusive and pictorial nature of space.
circle No. 2 | Gouache
$2,000
16 X 16
The work is three-dimensional (cardboard) and framed in a high-quality object frame with anti-reflective glass.
It is such an idea, perhaps, as John Cage used and extended in his famous 1952 three movement composition 4' 33', where no note is heard, and which also acts as a precursive avenue into minimalism. This touches upon our imagining of spatial systems, but also draws upon the phenomenological embodied experience of space. It will be noticeable immediately that her works are on a small scale in which the forms are minimal and reduced to constructed essentials, and we are drawn in to look closely at their visual contents, to move our bodies toward them and engage intimately with the work. They are works of presence.
From the Giordano Bruno cycle; the work is three-dimensional (cardboard) and framed in a high-quality object frame with anti-reflective glass.
complicatio No. VII | Gouache
$8,000
42 X 41
From the Giordano Bruno cycle; the work is three-dimensional (cardboard) and framed in a high-quality object frame with anti-reflective glass.
A second aspect of Ina Abuschenko-Matveyeva's work is that of spatial extension, the component elements while they derive from a background of painting and graphics, they at the same time alter their initial sense of flatness by creating subtle relief-like spatial extensions. This dialectic of painting and sculpture is a central characteristic of modernism and constantly in her work.
The work is three-dimensional (cardboard) and framed in a high-quality object frame with anti-reflective glass.
binom | Gouache
$5,000
39 X 41
“John Cage once said, I have nothing to say, I am saying it, and that is poetry.”
von 12 bis 12 | Gouache
$12,000
42 X 41
The work is three-dimensional (cardboard) and framed in a high-quality object frame with anti-reflective glass.
Donald Judd the great founder of minimalism began as a painter. The idea of both sculptural and painterly objects is also presented here in the two painting reliefs that play with issues of picture and frame. In visual terms they question the parameters of picture and object. It has therefore been common throughout nearly all Abuschenko-Matveyeva's work to concentrate on the ambiguous boundary between painting and object, between thing and image, and how in the 'modernist.'
"Lichtbild Steigen Air" was created during a stay in Norway; the light north of the Arctic Circle is the subject of the three-part work
Lichtbild Steigen Air | Gouache
$8,000
17 X 56
Her concern is with subtle shifts of space whence she uses color it is not that of a skin applied to a surface, as might be the case with a minimalist object, but is as an extension to the constructivist idea that (apart from the fact that color is always dependent on light) color can add to the optical plasticity of the thing as it is seen. Abushenko-Matveyeva's can be said to mirror and reflect many contemporary modernist concerns as regards the obfuscated boundaries between painting and sculpture.
curtain gelb/blau | Gouache
$1,800
12 X 28
Side view of the work; painted on drawing cardboard, mounted on drawing cardboard, indication without frame dimension.
“There is no doubt a painting is a material thing that is made and exists as a thing in the world simultaneously to it being called a painting.”
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