Marina Kruchinina
(born 1954)
Disturbed Dream
Moscow
2020
Linen, wool; hand weaving
Artist’s property
Marina Kruchinina: “The image is built in the style of Art Nouveau from the dynamic plasticity of lines. Stylisation is introduced into the generalised and decorative interpretation of the surrounding world, with rhythm, movement and texture established as independent media of expression”.

Mariya Dvoynikova
(born 2000)
The Path of Self-Awareness
Saratov
2020
Wool, acryl; hand weaving
Artist’s property
Mariya Dvoynikova: “The work features a wanderer in the dark.  He seems to be balancing on the edge of illusions and reality trying to discover himself.  Deep blue restrains and balances emotional impulses and anxiety, calls for prudence and peace of mind, and takes away useless thoughts”.

Irina Smagina
(born 1961)
Faces, Emotions, Images
Moscow
2020
Linen, wool, wool mixture; hand weaving
Artist’s property
Irina Smagina: “Historically, the tapestry is closely linked to the human architectural environment. So my work is looking for new spatial solutions for interior tapestry. My works become detached from the wall to live in space. Unlike traditional classical tapestries, they are double-sided, have no wrong side and can be observed from both sides”.

Christina Vysotskaya
(born 1992)
Inside and Outside
Belarus, Minsk
2019–2020
Wool, cotton, acryl, magnetic tape, plastic, wood, mirror; hand weaving (artist's own technique)
Artist’s property
Christina Vysotskaya: “The ‘Inside and Outside’ triptych explores the inside and outside of mind and their unity. Thoughts are material and are produced by the finest neural connections of our brain and extends far into the infinite space of the universe”.

Aleksandr Gorazdin
(born 1946)
A Dream Play
Moscow
2020
Wool, hand weaving
Artist’s property
Aleksandr Gorazdin: “Virtual subconscious space during sleep is ‘A Dream Play’. Play is unpredictable. Unpredictable fantasies in virtual space”.

Lyubov Platonova
(born 1959)
Inflections
Moscow
2020
Wool, hand weaving
Artist’s property
Lyubov Platonova: “What is there between the mirror and the reflection, between dark and light, between good and evil, between you and me, in terms of philosophy? Often there is no space between these things. No space painted does not mean that there is no space. It is always there”.

Elena Nefyodova
(born 1957)
My Space
Moscow
2019–2021
Wool, linen, cotton, silk; hand weaving
Artist’s property
Elena Nefyodova: “Space has many meanings. One is the whole outside world. The scale is important here; humans in the space of their apartments, regions, cities, countries, planet, space... Another meaning of space is your private internal world and your thoughts, dreams, feelings... My tapestry features this private space”.

Anna Veksler
(born 1972)
San Marco. Between Heaven and Earth
Saint Petersburg
2020
Wool, cotton, viscose; tapestry weaving
Artist’s property
Anna Veksler: “Venice is amazing… Rainy or sunny, night or morning, any change in weather and time changes space. Mists will paint the city milky, dissolving stone walls in canals. Night lights highlight buildings with neon, building solemn and majestic architecture… Sculptures come to life, living creatures acquire human features and characteristics… It is this altered state of space that I wanted to reflect in my work”.

Tatyana Shevyolkina
(born 1951)
Glass City
Moscow
2020–2021
Wool, linen; hand weaving
Artist’s property
Tatyana Shevyolkina: “A glass city… It is growing before our eyes, a city of glass and concrete. Usually these are high-rise buildings that rush to the sky and block out the old town. My works are built on movement and desire to go up into space. It is meeting challenges looking for the ultimate truth”.

Olga Volkova
(born 1978)
“Still Life” Series
Clean Plates and Cups
The Closet is in Good Order
A Mountain of Dirty Dishes
Four Cups of Coffee
Yaroslavl
2020
Fishing line, aluminium thread, wire; braiding
Artist’s property
Olga Volkova: “I think of my tapestries as transparent, light, airy, both visually and in terms of materials used (fishing line, wire, and metal thread). Thus, the tapestry is not a visual barrier, fence, patch, or carpet. It is transparent, hiding nothing, but catching the eye. It is pretty much of transparent tracing paper to be applied to some surface for an instance. The tapestry ceases to be in a 2D space and becomes part of a 3D one”.

Yuliya Tamarovskaya (born 1987)
Anzhelika Bondarenko (born 1990)
In the Kaleidoscope of the Plane
Rostov-on-Don
2020–2021
Wool, acryl, cotton; hand weaving, mixed technique
Artists’ property
Yuliya Tamarovskaya and Anzhelika Bondarenko: “‘In the Kaleidoscope of the Plane’ is an abstract and emotional design inspired by our visit to Tsaritsyno. Using a plane surface solution, we are looking to reflect a fluid environment of the palace's interiors, designs, and parks. While exploring space is a vivid and unpredictable journey, the tapestry builds on a constant change in the shapes of spots, colours and textures”.

Olga Melnikova
(born 1989)
Urban Encounters
Samara
2020
Cotton, linen; hand weaving
Artist’s property
Olga Melnikova: “No tapestry theme arrives on the spot; sometimes it takes to make a plein-air painting and other times you need to change your whole life. ‘Urban Encounters’ takes me back to my student days, when I had to commute across the city watching the architecture and the flow of people, and residential areas alternated with business centres, old wooden houses where they still dry clothes in the street, with glass skyscrapers”.

Vera Demicheva
(born 1960)
The Linear Space of Karachevskaya Street in Oryol
Oryol
2019–2020
Cotton, wool, hand weaving
Artist’s property
Vera Demicheva: “Karachevskaya Street is an old merchant street in Oryol, with many surviving 19th century buildings. As the landmark of this street, trams have for many decades evoked a feeling of the straightness of the space in the vanishing world”.

Gulshat Dzhuraeva
(born 1975)
Poppy Field
Kazakhstan, Almaty
2019
Wool, acryl; hand weaving
Artist’s property
Gulshat Dzhuraeva: “My work comes from a desire to understand and display a unique natural phenomenon — poppies blooming in spring in the steppes of Kazakhstan. I tried to display emotion by reflecting the external image (the macrocosm) by translating it into a certain inner state, on the one hand. And on the other hand, to transform the whole into an image, to compress the space of the surrounding object into a certain psychic substance, to consciously limit infinity to some relatable framework”.

Vladimir Goncharov
(born 1958)
In the Park
Voronezh
2020
Wool, hand weaving
Artist’s property
Vladimir Goncharov: “A fragmentary composition with characteristic silhouette forms embodies the park of our recent past with surviving front steps and an open-air theatre”.

Nadezhda Golovachyova
(born 1957)
The Moyka River. St. Isaac's Cathedral
Saint Petersburg
2020–2021
Wool, cotton; hand weaving
Artist’s property
Nadezhda Golovachyova: “My task was to use tapestry to feature the unique space of Saint Petersburg. To meet this challenge, I compared contrasting motifs and their transformation into a pictorial and depicted unity that maintains the plane. The horizontal embankment of the Moyka River ends with a low, pressing arch of the bridge. Vertical buildings are facing each other by the sides. St. Isaac's Cathedral pops up in a narrow gap between them. The sky above Palace Square breaks up”.

Elena Yunkova, Elizabeth Belskaya-Bondarevskaya
(born 1985)
Sea in a Glass
Moscow
2020
Wool, linen, recycled textile, wire, metal; hand weaving
Artist’s property
Elena Yunkova: “The theme of the work has a deep philosophical subtext. It is no coincidence that we say: ‘The glass is half full!’ meaning that everything will be fine. The sea here symbolises life. Multi-faceted, like this glass, sometimes raging like a sea storm and sometimes quiet as a calm. My project is about multi-faceted people and their lives. Everyone is an ocean that can fit into just one glass”.

Nataliya Tsvetkova
(born 1975)
Fossils
(triptych)
Saint Petersburg
2019–2020
Wool, cotton; hand weaving
Artist’s property
Nataliya Tsvetkova: “‘Fossils’ reproduce my feeling of the ancient world, which has turned into stone. I used wire while weaving to add texture and create the effect of fossilised parts of ancient plants. I came up with this technique and used it for the first time in this work”.

Nataliya Lepikhina
(born 1998)
3D Editor
Saint Petersburg
2020–2021
Cotton, wool, viscose, synthetic fibre; smooth and pile weaving, mixed technique
Artist’s property
Nataliya Lepikhina: “‘3D Editor’ reveals today's human mindset. The panel moves the viewer into a virtual reality, which you can touch or change at your own discretion. Information technology plays an increasingly critical role in everyday life. But what role will a person have when virtual reality becomes real, when technology replaces human jobs? Humans will still be the creators of this new world”.

Natalya Nikiforova
(born 1953)
Wind. Grass
Saratov
2020
Wool, viscose, cotton, sisal; hand weaving
Artist’s property
Natalya Nikiforova: “Grass is both a sign and a symbol of the living principle on Earth. Like wind moves waves, time moves millennia. And grass remains on Earth as an ancient witness of eternity. Through tall grass, you can, like in the theatre, open the curtain, see the wonders of the earthly action of life. Here, like when you were a kid, you can find a fairy tale and a dream. The rhythms of tall grass seem to set the tone of a dynamic melody, everything is united, like in an orchestra, by the musical polyphony of a life-affirming major key”.

Valentina Sotnikova
(born 1960)
Festive Kaleidoscope
Ulyanovsk
2020–2021
Cotton, acryl; harness weaving
Artist’s property
Valentina Sotnikova: “My work is rather looking for the space of time. It begins with the calendar of the ancient Slavs and divination and unwinds the time spiral. ‘Festive Kaleidoscope’ is a dream, a vision, a trip across genetic memory. In folk weaving, carpets and rugs are a separate type of creativity and craft. They decorated the house and met, led and escorted guests”.

Alla Shmakova
(born 1944)
Prayer (Saint Nicholas and the Angel)
Moscow
2019–2020
Linen, cotton; hand weaving
Artist’s property
Alla Shmakova: “This work is dedicated to Vyacheslav Pavlov’s graphic series ‘Saint Nicholas’ Visions’. The saint is in a state of continuous prayer, trying to soar above the chaos”.

Irina Kolesnikova
(born 1959)
The Neverending Story
(triptych)
Leverkusen, Germany
2012–2020
Linen, silk, polyester; hand weaving
Artist’s property
Irina Kolesnikova: “I was inspired by my Soviet childhood and early youth. Red flags, banners, and slogans. Huge letters on the facades — ‘GLORY TO THE CPSU!’ or ‘GLORY TO LABOUR!’, ‘PEACE TO THE WORLD!’ or ‘PROLETARIANS OF ALL COUNTRIES, UNITE!’ So much red textiles! ‘The Neverending Story’ series features ideas about the symbolism of the red colour, the change and fading of this red, the thinning of the fabric structure itself over time”.

Søren Krag
(born 1987)
Enûma Eliš (I, II, III)
Norway, Bergen
2019
Wool, metal, rubber; digital painting, digital jacquard weaving
Artist’s property
Søren Krag: “The work consists of three weaves produced using digital jacquard weaving. In addition, the installation includes rubber flooring, iron rods and bungee cords for mounting. Wanting to work with a mythical motif well outside the ‘western’ canon, I seized upon the Babylonian creation myth Enûma Eliš, which can be translated to something like ‘When on high’ — the first words of the text. The text is believed to have been written down somewhere between 1600 BC and 1400 BC and is written in Akkadian wedge writing, the oldest writing system we know.

Broadly the creation narrative can be seen to develop through three successive stages: chaos, struggle (Chaoskampf) and order. Through the work I want to highlight the fact that while these stages, certainly chaos and order, are often seen as polar opposites they are in fact merely reordered constellations of the same given materials. The work thus constitutes three separate woven motifs, however denoting the aforementioned idea of reordering, the weaves are all created using the same scale, yarns and bindings. Another favored motif in the tradition of tapestry is that of allegory where figures, or the various elements that form the composition, are used to symbolize a deeper moral or spiritual meaning such as life, death, love, virtue, justice etc. Similarly, my rendition of the Enûma Eliš is not an attempt to loyally illustrate the words of the story, rather I have created three visual allegories, each symbolizing the various stages of creation”.

Malik Mukanov
(born 1972)
Under the Eternal Sky of the Blue Wolf
Kazakhstan, Almaty
2019
Cotton, wool, silk; hand weaving; applique, embroidery
Author’s property

Svetlana Barankovskaya (born 1965) Tatyana Makletsova (born 1966) White Noise
Belarus, Vitebsk
2019
Linen, newspaper, mesh, writing paper; weaving
Artists’ property
Svetlana Barankovskaya and Tatyana Makletsova: “The project space, plastic and flexible in different circumstances, reveals meanings layer by layer and superimposes them one on one, transforming them through transparencies and cascades of delicate gradations of grey, sparkling with fragments of phrases, to black and rich red. ‘White Noise’ is a challenge to modernity, which is oversaturated with chaotic information, a comprehensive wave of stationary noise, from which it is difficult to distinguish truthful intonations and it is so easy to get lost in fake news. Our project is not about chaotic signals, but about the ways art helps us in finding meaning in the white space”.

Valentina Ukolova
(born 1987)
Biking South to North
Moscow
2020
Wool, acryl, cotton; hand weaving
Artist’s property
Valentina Ukolova: “In search of space, I looked through the prism of our current life, which is very rich, active and fast. People are on the move and looking for new places and themselves, new knowledge and experience or their place in life. Today, you can move and travel in thousand various ways. My work features a biker’s journey who is looking for new things and travelling across Europe, from the southernmost to its northernmost point”.

Marina Rusanova
(born 1952)
Journey (2)
Moscow
2020
Wool; hand weaving
Artist’s property
Marina Rusanova: “The theme of the Triennial, ‘In Search of Space’, prompted me to search for understanding the Great universe. Living and inanimate in the boundless expanses are flying, obeying some laws unknown to us, and spiral into the DNA of the universe. We are in the space of the universe. This is the key idea — a poetic image of wandering, natural elements, free flight, atmosphere and life. Life is in the mysterious space of the universe. How did the universe come into being, where does it go, does it spiral, does it fly in a carousel in a circle, does it contract or expand, does it have a beginning and an end? The answers are not available to humans”.

Nadezhda Dzyuba
(born 1948)
Tsar’s Road
Veliky Novgorod
2020
Leather, metal, mixed technique; hand weaving
Artist’s property
Nadezhda Dzyuba: “Since the early 18th century, this road has been connecting Saint Petersburg and Moscow as Russia’s main road. For centuries, it has created a special historical environment. The road has provided travellers with accommodation, food, and was used to deliver mail and cargo. Small towns, settlements and large cities have emerged along the road. In search of historical space, I tried to take a fresh look at our past. Tsar’s Road is a series of mini-panels featuring this unique route, which continues to serve its purpose as the country’s main highway”.

Ekaterina Gromtseva
(born 1968)
The Rooks Have Come Back
Cherepovets
2019
Wool, wool mixture; hand weaving
Artist’s property
Ekaterina Gromtseva: “This is a replica of the well-known painting by Savrasov. The image of melting snowdrifts along the road, packed snow, road sand, turned into a layer cake. Chipping ice floes with breaking water streams and migratory birds as the symbol of the coming spring. It is amazing to share experiences with great artists. Landscapes and life change, but rooks keep returning every spring. Together with the bright sun, they are the harbingers of rebirth”.

Serafima Butorlina
(born 1993)
Roads and Paths
(triptych)
Saint Petersburg
2019
Cotton, wool, synthetic fibre; tapestry weaving, hand weaving
Artist’s property
Serafima Butorlina: “My ‘Roads and Paths’ is about looking for meaning. We keep looking for our life space and life road, which starts on the day we are born and goes throughout all our life until death. The tapestry is filled with symbolic meaning, which reflects the stages of a person’s life road, from childhood through youth to spiritual maturity”.

Irina Belousova
(born 1990)
Blossom Time
Saransk
2020
Acryl, wool; hand weaving
Artist’s property
Irina Belousova: “Everyone has their own spring. And everyone feels different. With bright red and green, lines and dots, I show that spring, unlike winter, is bright, dynamic, juicy and fleeting. It is like a moment that we do not notice. But we will notice in photos or in the design of the things around us. Bright colours are eye-catching. They evoke emotions, make you think about why the author depicted his or her spring in this way, and not otherwise, I have a completely different spring”.

Vasilina Bokova
(born 1981)
All Around Her
Moscow
2020
Acryl, cotton; hand weaving
Artist’s property
Vasilina Bokova: “This work is about interaction between an individual and the space around. Their juxtaposition is expressed by textural and tonal contrasts. ‘All Around Her’ shows the search for optimal personal space, the search for distance between people, the balance between self-absorption and communication, detachment and trust”. 

Elena Markelova
(born 1974)
Spring Morning
Yaroslavl
2019
Wool, wood, gesso, acryl; hand weaving
Artist’s property
Elena Markelova: “This tapestry is part of ‘About the Sea’ series where I explore a combination of various artworks, a fresco and weaving. I showed early spring. It exposes last year’s grass, with the snows unwilling to melt and with the frosty matinees and the March sun. Spring as a traditional symbol of renewal, which begins by starting from the old, what has already been, but which can be reborn and sound completely different”.

Olga Chepko
(born 1989)
Light Bulb
(mini-tapestry series)
Samara
2020
Cotton; smooth weaving
Artist’s property
Olga Chepko: “The ‘Light Bulb’ series was conceived as a quartet of minimalistic sketches about today’s life in cities, apartments, rooms... It is about life away from nature, where home lamp light replaces the sun and gives emotions that are just as bright at first glance. In the search for space, both inside and outside, in the search for the connection between job and environment, in the search for atmosphere and composition, the artist addresses complex nuances. You need to take into account light, perspective, scales, distances, colours, interactions of textures, and much more. In my slightly comic series of tapestries, colour is the protagonist, and light shows up as a common light bulb. My hare tries to interact with them, this character appears in many of my artworks. The hare is in persistent search for space”.

Elena Galaktionova
(born 1957)
In the Space
Moscow
2020
Wool, acryl; hand weaving
Artist’s property

Liza Olshanskaya
(born 1970)
Window View
Moscow
2020
Textiles; smooth weaving, embroidery, mixed technique
Artist’s property
Liza Olshanskaya: “This artwork is related to global warming, it is a kind of surreal, futurological assumption that one day an iceberg will materialise in the park pond next door”.

Elīna Lūsis-Grīnberga
(born 1966)
Through an Open Window
Riga
2020–2021
Wool, linen; hand weaving
Artist’s property
Elīna Lūsis-Grīnberga: “‘Through an Open Window’ is one in the series of my tapestries that reflects my interest and aim on rearranging the given facility by the means of introducing a concept of ‘space within a space’. This means that the tapestry visually broadens the existing facility by ‘bringing in’ the illusion of another space. This particular project is intended as a logical continuation of my search to ‘bring in’ the motifs of the nature or even a resemblance of a wider landscape in order to create another dimension of certain mood or ambience. It makes an onlooker to meditate on the more or less specific forms or motifs and/or inspire his/her imagination past the given location. Thus the aim and philosophy of this project is to create an art piece that visually transforms the strict limits of the existing walling and like through an open window harmonically incorporates the outdoor scenery right into the specific interior”.

Natalya Lavrentyeva
(born 1961)
Between Heaven and Earth
Moscow
2019
Wool, cotton; hand weaving
Artist’s property
Natalya Lavrentyeva: “Quoting Joseph Brodsky, ‘Only the sea can face the sky...’ This is a landscape, living, changeable, permeated with light, colour, wind, and noise. This is a dialogue of the elements — water, earth, sky — and their unity, sometimes harmonious, sometimes dramatic. Their inevitable existence in a single space”.

Oleg Emelyanov
(born 1957)
At the River
Samara region, Volzhsky
2020
Cotton, linen; hand weaving
Artist’s property
Oleg Emelyanov: “‘At the River’ is a poetic story about life, water, earth, and air. It deals with native nature and folk spirituality, which help people to live in this complex world. The river bank is a special zone of contact between different energies, constantly giving the opportunity to talk to nature, and reflect on the passage of time”.

Malik Mukanov
(born 1972)
Identification
Kazakhstan, Almaty
2019
Cotton, wool, silk; hand weaving, applique, embroidery
Artist’s property
Malik Mukanov: “I do not think I need to explain the symbolic content of ‘Identification’. This is almost a direct pictorial transcription of the fingerprint method of user identification in digital technology — iPhones, iPads, smartphones, etc. by scanning your thumbprint”.

Feliksas Jakubauskas
(born 1949)
Out of the Sun and Rain
(triptych)
Lithuania, Vilnius
2020
Wool, silk, artificial fibre; hand weaving
Artist’s property
Feliksas Jakubauskas: “I love the classical tapestry technique, but I also use diagonal weaving that is typical of Lithuanian folk textiles. This work was inspired by the two most important elements of nature — the sun and water, so it has a lot of blue and gold. It is extremely abstract and full of free space. Abstract symbolism, non-abstract abstraction — this is how you can describe my tapestry, in which non-objective forms and their combinations reveal the living pulsation of being”.

Olga Oreshko
(born 1952)
Distant Worlds
(mini-tapestry series)
Wool, linen, metal mesh; hand weaving, twisting
Artist’s property
Olga Oreshko: “The idea of the ‘Distant Worlds’ series continues the flight in space in the tapestry ‘The World for You...’ The flying, terrible and beautiful entity that created the world, the planet, carries on its chest its beloved child-man. It is the creating, storing, and saving principle. It is like a spaceship carrying a person in a capsule. This world is made for you. You are the guest, the child, and the meaning of creation. ‘Distant Worlds’ are the tiny particles of the universe, remote in the Space, calling for knowledge and dreams of flight. These are the points of reference of infinity, the particles of the whole, the particles of the world. Each part of my worlds is a small point of being and the attraction of infinity”.

Aleksandra Gizzatullina (Chefeleva)
(born 1995)
Threads of Life
Samara
2020
Cotton, acryl; hand weaving
Artist’s property


Aleksandra Gizzatullina (Chefeleva): “This artwork is based on the stories of Vasily Shukshin. The description of nature, the Russian countryside, the everyday life of ordinary people, their mood and strength of spirit inspired the author to create this work.
Nature is the inspiration and strength, joy and comfort, peace and harmony, so much needed in today’s world”.

Vladimir Mukhin
(born 1952)
I Am Just a Brief Moment
Ivanovo
2020–2021
Linen, wool, wool mixture; hand weaving
Artist’s property
Vladimir Mukhin: “Is space a physical or metaphysical concept? How do we understand the space? Is it the inner world with its accumulated knowledge and experiences, the vast and unknown world of the universe, or the space around us limited by the limits of accessibility? What does an individual mean in this ordered chaos of the universe? How to combine all this and convey it to the viewer, creating a visible image of the sensual and personal? Too many questions. But it is important to ask them, which means to think and try to find the answer, at least for yourself. The artist’s mission is not to teach life, but to encourage reflection, analysis, and the movement of the soul”.

Fyodor Lvovskiy
(born 1942)
The Triumph of Being
(triptych)
Moscow
2020
Linen, wool; hand weaving
Artist’s property
Fyodor Lvovskiy: “‘The Triumph of Being’ is a subjective and associative idea of the artistic perception of the universe. The artwork consists of three parts. Three iconic symbolic images express the idea of flight. The phenomenon of the sensation of flight is similar to the creative inspiration of an artist. ‘The Triumph of Being’ continues a series dedicated to philosophical and cosmic ideas, which are the focus of my work”.

Mariya Grabar
(born 1989)
The Cradle
Omsk
2020–2021
Wool, cotton, linen; hand weaving
Artist’s property
Mariya Grabar: “‘The Cradle’ is a reflection on humanity and nature. I believe that the balance between the two is required for stability and further development of the universe”.

Alla Elfimova (born 1947)
Pavel Elfimov (born 1970)
The Source
Moscow
2020–2021
Tapestry: wool, silk, linen; hand weaving
Art object: steel/wood, plate glass, yarn; installation
Artist’s property
Alla and Pavel Elfimovs: “‘The Source’ is a derived point, the beginning of the movement of light, water, time, creativity, inspiration. The composition consists of two parts: a tapestry made in the traditional weaving technique, and an art object made in the style of constructivism. The tapestry reveals the theme of nature and the universe, defines the natural component of the concept of source, a certain point of view, the beginning that gives life to all things. The second part interprets the modern, technological definition — a source of energy, communication, and information”.

Saniya Yurchenko (1951–2021)
There
Moscow
2020–2021
Wool; author’s hand weaving
Artist’s property

Natalya Konkova
(born 1979)
Rainbow Splash
Belarus, Vitebsk
2020
Linen, viscose, polypropylene, acryl
Artist’s property
Natalya Konkova: “The rainbow underlies this project. This is a unique natural phenomenon, which can be single, double, half and round, and includes the entire spectrum of primary colours. Seven colours and seven notes. We do not know where the rainbow comes from, and many people dreamed of running under it, but this is impossible. We see the base of the rainbow and the splash of its waves. A rainbow river of a kind”.

Yuliya Nesis
(born 1984)
Tumbleweed
Moscow
2020
Linen, jute, metal; weaving, artist’s own technique
Artist’s property
Yuliya Nesis: “A lonely person, without roots and attachments, a person about whom they will say: tumbleweed. An ideal resident of the modern world, always on the go to get a job or travel for corporate business. They are a living wheel, a highly mobile part of a giant machine. Figuratively speaking, ‘Tumbleweed’ is a border crossing. An object (possibly an individual) moves at an accelerated pace in space, scattering seeds into the soil. The seeds germinate, barely have time to mature, and immediately, driven by the wind, they rush further across the next border, losing their roots. So today’s humanity is comparable to this phenomenon”.

Alla Elfimova (born 1947)
Pavel Elfimov (born 1970)
Network
Moscow
2020–2021
Aluminium/steel pipe, plywood, plastic wire, mesh for reinforcement, mounting fasteners, acrylic yarn, polyester; mounting, braiding, weaving
Artist’s property

Galina Khramtsova
(born 1968)
Perspective. Expulsion from Paradise
Ekaterinburg
2020–2021
Metal, synthetic fiber; braiding, hand weaving
Artist’s property
Galina Khramtsova: “The essence of the work is the idea of the unity of nature and man. The beautiful park, which has experienced periods of prosperity and decline, and the palace itself, which has risen from the ruins, like nothing else inspire the realisation of the idea of the cyclical nature of creation and destruction in the natural world and in human society. Nature is the essence of harmony. As one retreats from nature, from one’s own nature, from God, one loses culture”.

Elena Molchanovskaya
(born 1973)
Metamorphoses
Moscow
2020–2021
Threads, metal; weaving
Artist’s property
Elena Molchanovskaya: “Creating 3D objects for open space using weaving requires new solutions. Our mission was to interpret the techniques of tapestry and weaving, their interaction with the landscape of the park and the modern arrangement of the traditional tapestry. Landscape compositions have a common theme — the mythical characters of Russian folk culture. The revival of the traditional art form has led to the need to rethink the archetypes of folk art”.

Nataliya Tsvetkova
(born 1975)
The Third Day. Primordial
Saint Petersburg
2019–2020
Metal, polyethylene; hand weaving, braiding, artist’s own technique
Artist’s property
Nataliya Tsvetkova: “The installation is dedicated to the Creation of the World. On the third day of Creation, the plants were created. ‘Primordial’ is an image of one of the first flowers, which have no analogues in the modern world. These flowers were the first try. The Creator is looking for different options in search of the best. Flowers are born from the elements. The installation features a Fiery Red Flower”.

Ekaterina Neveynitsyna
(born 1989)
The Vision of Dance
Moscow
2020
Fence mesh, polyethylene; braiding
Artist’s property
Ekaterina Neveynitsyna: “Inspired by Henri Matisse’s painting, ‘The Vision of Dance’ seems to dissolve in the space of the park, thanks to the use of translucent material. It creates the feeling of a blurry image that changes throughout the day along with natural light. We can say that it is not the panel that becomes part of the park, but the park becomes part of this artwork, constantly changing its perception. This work is intended to reconcile the antagonists of the modern world — nature and plastic. As a follower of conscious consumption, I want the plastic bag to be used repeatedly. It is not only a utilitarian object, but a means of expression. Using its functionality, I want to discover its expressiveness”.

Mariya Bondarenko
(born 1994)
Tatyana Patina
(born 1991)
Dualistic Bridge on a Backwoods Path
Moscow
2021
Wood, textiles; weaving, spinning, macramé
Artists’ property
Mariya Bondarenko and Tatyana Patina: “The art object explores human dualism: belonging both to the world of nature and civilisation — the world created by man. The work visualises the transition from the city’s noisy streets with bright illumination to quiet natural landscapes. The feeling of transition from the city to the world of nature is created by textile art canvases that convey the colour and different texture of the given artistic images. On both sides of the bridge, the viewer and the traveller are presented with the images of civilisation and nature, which is reflected in the materials and colour palette. As you approach the centre of the bridge, these images merge together, bringing together the city and nature”.

Aleksandra Ostrovskaya
(born 1971)
Build Point
2020
Expanded mesh, cords, wire; weaving, 3D printing
Artist’s property

Irina Yablochkina
(born 1954)
Ghosts of the Past
2020
Banner fabric, synthetic fibre; digital printing, textile collage, embroidery, braiding, weaving
Artist’s property
Irina Yablochkina: “Tsaritsyno became a popular place for outings in the early 19th century. People come for a walk and to spend time in nature. Now many Muscovites come here for the same purpose. The goal of my project is to connect the current vacationers with their predecessors, the light shadows that appear on the alleys of the park, literally transfer to their hands the tangles of time and fate that rolled out of the past years, to unite them not only in the space of the park, but also in the space of time”.

Matvey Shcherbakov
(born 1993)
Pandora
Moscow
2020–2021
Plexiglass, dichroic film, matte film, metal frame, cotton, wool, acryl, synthetic fibre; weaving
Artist’s property
Matvey Shcherbakov: “This series is positioned as a new idea of the role of tapestry in contemporary art, a practical solution to the interaction of an artistic element (art object) with the environment and the viewer. Pandora’s box is used as a metaphor, especially relevant against the background of the current global situation with the wandering virus”.

Mariya Ermolaeva
(born 1969)
Mirages
Saint Petersburg
2019
Silicone threads, fishing line, glass, plastic; braiding, mixed technique
Artist’s property
Mariya Ermolaeva: “My ‘Mirages’ objects combine natural forms and architectural lines, interweave the real and the illusory with the help of transparent threads, glass, light and air, harmoniously coexisting in space”.

Nadezhda Oleynik
(born 1951)
Obverse and Reverse
Saint Petersburg
2021
Polypropylene yarn; hand weaving
Artist’s property
Nadezhda Oleynik: “Traditionally, the textile space was defined by utilitarianism: clothing, home decoration. Modern textiles are looking for and exploring new niches, it is bored just hanging on the wall. ‘Obverse and Reverse’ was created specifically for display in the Tsaritsyno Park as a contrast and at the same time the unity of nature and creativity. The viewer is invited to see two views of the artist: on the nature and the space of nature as such”.

Mariya Ermolaeva
(born 1969)
Architectural Walks
2020
Silicone threads, fishing line, synthetic fibre, cotton; weaving
Artist’s property
Mariya Ermolaeva: “‘Architectural Walks’ are based on the architectural plans of V.I. Bazhenov. I really wanted the plans to move from paper to another plane of lace textile fabric and find their new space”.

Elena Markelova
(born 1974)
Fish
2019
Cotton, wood, metal, gesso, acryl; hand weaving
Artist’s property
Elena Markelova: “In this work from ‘About the Sea’ series, it was interesting to play with different materials, to see their new sound through the combination of different techniques and surfaces, while creating one harmonious image. In this series, I wanted to address the eternal relationship between man and the sea. My ‘Fish’ is a catch of the new time. It is a fish, which is interwoven with the rusty technologies of old humanity, which has dissolved itself in technological progress. My fish has a human face. This is a symbol of the new age, turning your face into your very soul”.

Minnamarina Tammi
(born 1963)
Textus stamen
Finland, Tortinmäki
2019
Newspaper, twisted wire
Artist’s property
Minnamarina Tammi: “Paper comes from a forest and it will be back to exhibit in a forest. My textile is done with a great honour to old forest and big trees. Agenda of my work is save more forest to the future. This is my little rebellion against heavy timber trade/business. I return the wood back to the woods, in different form, for a while, at least”.

Raija Jokinnen
(born 1960)
Encounter over Time
2020-2021
Linen; braiding, embroidery
Author’s property