Glushkova Liza
Born in 1991, Moscow
where I live today
PRUE
- Taxes and Taxation 2013
- International Art Management 2019
HSE School of Design 2022
MA in CONTEMPORARY PAINTING
- Vladimir Dubosarsky’s workshop
- Oksana Simatova (Crocodile power) workshop
Selected exhibitions:
2025:
Private garden, solo show, Mastersbookstore, St. Petersburg
TAAD, Israel, Tel Aviv
2024:
Catalog fair, Moscow
Port art fair, St. Petersburg
Speed dating, Sistema Gallery, Moscow
Travel diary, Elohovskiy gallery, Moscow
2023:
Les fleurs du mal, Triumph gallery, solo exhibition
Blazar art fair, Museum of Moscow
Third place art fair, Third place, St. Petersburg
2022:
"Not here/not now", Venezia, Cannaregio 4505
Optimum, Russian Museum of Decorative Arts in Moscow
"In a certain kingdom," HSE Art gallery
"Secret party in the garden", Maxart foundation x Leveldva
"Issue'22", Underground Museum of Zaryadye Park
"Breaking where it's thin", InArt gallery, Winzavod
"Fate leaned. Event Horizon", Rostokino Gallery, exhibition halls of Moscow
"What was, what will be, what the heart will calm down," InArt gallery, Winzavod
2021.
"Through the eyes of Russia", London, Camden image gallery
PROJECTS
| Nature of things (2024-2025) The series of works is dedicated to the interconnection of objects and processes that surround us. Three components - object, process and space - form a single composition, intertwining various aspects of the life of the objective world. The process in this context means a natural phenomenon - steam, clouds, smoke. In the paintings, the natural phenomenon is a visual analogue of chemical reactions - reactions of combination, decomposition, substitution and exchange. The objects in each work are different. Some are natural, and some are man-made. |
Private garden (2025)
The series is based on the image of the ideal garden, which is widespread in art and has its roots in ancient times. Thus, the expression locusamoenus, which originated in the era of Antiquity, literally meaning "pleasant corner", described the idea of a certain idyllic place, full of beauty, peace and harmony, where a person is able to lead a measured life in the bosom of nature. In the Middle Ages, the image of a “fenced garden” became especially popular; it was a prototype of a heavenly paradise on earth, devoid of time and geographical boundaries.
In the paintings, the image of a fenced garden takes on the character of an internal, intimate space of an individual, hidden from the eyes of strangers and fully reflecting the character of its bearer. The images of flowers, growing against the backdrop of a deserted, endless horizon, at first seeming vaguely familiar to us, over time intensify the disturbing, obsessive impression of “foreignness”; before us appear “intelligent” anthropomorphic creatures, possessing their own character beyond the framework of our expectations.
| Morphology of plants (2024) Based on images of a familiar landscape, I reflect on the canvas a conventional space that vaguely reminds us of familiar organic forms. The landscape is divided into outlined layers, which is emphasized by the "stencil" method. Interacting with each other, they form a complete image, reflecting thoughts about how everything in nature is connected. I try to cause a feeling, comparable to the experience of derealization, when what has been seen before appears in a new light. A similar impression is experienced by a person experiencing a state of jamais vu ("never seen") - a state opposite to déjà vu, a sudden sensation that a familiar place or person seems completely unknown or unusual, as if seen for the first time. I often use natural themes in my works, which are like a medium for me - the plants in the paintings have their own character and mood. |
| Les fleurs du mal (2022-2023) A series of works tells about fantastic worlds where flowers and plants are strange, filled with cold light, geometric or, conversely, semi-abstract. I deliberately deprive the flora of the usual attractiveness and seductiveness, giving the images of flowers reason. It is them who become an active persona, sometimes the main character, causing both anxiety and curiosity, admiration and disgust. The works are emphatically theatrical and resemble multi-layered scenery, in the center of which the narrative picture unfolds without an approved script. I strive to cause the viewer, on the one hand, a feeling of observation of what is happening, on the other hand, unnaturalness and distortedness. The depicted space exists according to its own laws, the action itself is impossible to predict. I emphasize the variability of what is happening, the ambiguity of things. I wonder how people perceive their surroundings and how they adapt. I wonder if the world changes depending on the view of the person who is looking at it. |
Farm I-V (2022)
A series of 5 works depicting modern mills and distillers. Symbolizing the adaptation of a person, it reminds us of how they adapt, inventing things that transform a wild product into a consumable product.
| Red Book plants (2023) The works present a modern interpretation of floral still life, where the background is replaced by an endless horizon, through which the familiar outlines of plants begin to appear. Some of them are quite recognizable, and some are deliberately abstract. Deprived of their usual form, they seem to be something alien, having their own character, being free from our ideas about them. The name of the series "Red Book plants" refers not only to the color of plants, but also reminds us of the fragility and what may disappear - somewhere the cores disappeared in the flowers, and somewhere they seem to have been left without the top cover layer. |
| Turn to Stone (2022) The "Turn to Stone" project is a series of paintings in which I experiment with the images of familiar landscapes, while taking away the flow of live energy inherent in nature: all events seem to be outside the pictured, nothing is happening, time has stopped and only the frozen horizon remains to be observed. I propose to look at the ecosystem I have created in which organic forms interact, some of which are quite recognizable, some are deliberately flat and abstract. Combining the familiar and the unknown, the real and the imaginary, I strive to bring everything into an artificially created harmony. The starting point is the images of stones and minerals placed in non-existent spaces: interacting with each other, they form a frozen composition in which everything happens in a certain order. Turned into a stone, you need to stop, freeze and watch. |
Contacts
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