ASPHODEL MEADOWS

Modern worshipers of visible beauty are heirs to the ideology of early 60s. What they do is a reality tuning of sorts: if reality is not good as it is, it can be rearranged visually, and according to the magical laws, reality will become just like it is being shown in the pictures. If two things are alike, they are the same.
Banal urban sights and models become characters of computer games and all-digital movies, mythologically romantic, lacking any individual features. This is another aspect of sinking into digital depths. Without comprehending the personal, we are foredoomed to see the general, and the best works of the Whitesnows provide absolute generalization, nothing that would read as a place or even time.
What is left, then? It is a surface to feast one’s eyes on. That’s why the works of the Whitesnows turn out to be the sharpest portrait of time and people in it.

Curator text of Larisa Grinberg

Vegan

year: 2013
size: 150x100 cm
media: c-print under Diasec
edition: 5 with 2 AP

Glowfish

year: 2013
size: 150x100 cm
media: c-print under Diasec
edition: 5 with 2 AP

Green kryptonite

year: 2013
size: 150x100 cm
media: c-print under Diasec
edition: 5 with 2 AP

Fantome of the Opera

year: 2013
size: 150x100 cm
media: c-print under Diasec
edition: 5 with 2 AP

Pina Colada

year: 2013
size: 150x100 cm
media: c-print under Diasec
edition: 5 with 2 AP

Nimbus

year: 2013
size: 150x100 cm
media: c-print under Diasec
edition: 5 with 2 AP

Lord of Destruction

year: 2013
size: 150x100 cm
media: c-print under Diasec
edition: 5 with 2 AP

Reserve

year: 2013
size: 150x100 cm
media: c-print under Diasec
edition: 5 with 2 AP

The Candy Way

year: 2013
size: 150x100 cm
media: c-print under Diasec
edition: 5 with 2 AP

Vertigo

year: 2013
size: 150x100 cm
media: c-print under Diasec
edition: 5 with 2 AP

Boogie Man

year: 2013
size: 150x100 cm
media: c-print under Diasec
edition: 5 with 2 AP