Anya Miroshnichenko

Descripción del Artista

Anya Miroshnichenko Moscow Lives and works in Moscow, graduated from RATI-GITIS, faculty of theater arts, candidate of art history. She was engaged in theater and reportage shooting. From 2016 to 2019, she studied at the Docdocdoc school. Winner and finalist of international competitions Gomma Grant, Picture of the Year (POYi), lens Culture Portrait Award, PDN Annual, Canada Blanche PhotOn, Hellerau Photography Award, Kolga Award, Life Press Photo, Vilnius Photo Circle, Portrait of Humanity, College Photographer of the Year, participant of many international festivals – Riga Photomonth, Helsinki Photo Festival, Pierrevert Nuits Photographie, Rovinj photodays 2019, ph21 Gallery and others Participation in exhibitions - "Flowers are better than bullets", Berthold Centre, Saint Petersburg, 2020 Personal exhibition-Immagine sottile. Contemporanea, Bi-Box Art Space, Italy, 2020 Herbarium exhibition at Pennlab Galary, Moscow, 2021 Exhibition "Room" in the space "Sintezia" ("Cybermodern"), Vinzavod, Moscow, 2021 The room, 2019-2020 After the death of a person, things and memory remain from him. For a whole year I have been photographing in the room where Ba used to live. She died last summer and I had to sort out all of her things, many of which I didn't even know existed. I took portraits with objects I didn't understand, old sets, cracked plates and saucers, rusty nails, hammers, shabby coats or just dried flowers. At first I wanted to capture my interest and understand why a person needs so many things, why he surrounds himself with them, as if he himself becomes safer from more of them. Many people, generations Ba, who survived the war, famine, acquired deficiency syndrome. Things seemed to give confidence and security for any occasion in life. They were soothing. How many times have I seen Ba go through bed linens or synthetic dresses for special occasions, the value of which only she saw. The Ba kept them not in order to sort through the memory, although, of course, there were such. But most - as they say - were postponed for a rainy day. Making portraits, I understood why I needed all this. I fixed myself in memory. Therefore, my visual language is rather poor and monotonous - portraits. I did them even with some kind of manic addiction, without analyzing and not investing in this process any initial goal or idea. I wanted to fix myself ... for memory. So that no one will forget me when my room becomes empty. The Ba lived for things, and I transform these things into memory. I want to shout that I exist, even when I disappear without a trace, like Ba ...