The new series of artworks that started to take shape in the late 2024 comprises allegorical paintings. Its powerful imagery illustrates the Artist’s thoughts on the rules and norms of the social games we play. One may argue that most of the works in the series require no additional description or in-depth analysis: straightforward as they are, the messages contained in Snack or Les Têtes parlantes are quite easy to decode, leaving it up to the viewer to come up with an independent judgement and interpretation of the painter’s statement.

 

The two large-scale allegoric canvases reinvent Francisco Goya’s playful approach to viewer perception famously perpetuated by his ‘hidden meaning’ diptych of La maja desnuda and La maja vestida, with the latter intended to conceal the former, keeping a secret shared only with a limited number of people. Ms. Fedorova’s diptych rich in ironic overtones was conceived after a high-profile dinner party. Compositionally, both paintings allude to The Last Supper by Leonardo da Vinci. Using the great master’s approach to perspective, the contemporary painter aims to create an immersive effect. Central to The Last Supper’s linear perspective is the figure of Christ; the focal point of the first of Ms. Marina Fedorova’s two paintings is also on the central figure, this time of a woman, representing the lady of the household and host of the dinner party. Who was the real-life model projected into this female character by the Artist’s imagination is open to guesswork. The affinity for the grotesque is reminiscent of the Symbolist painters’ practice and offers a way to ridicule and deride the ways and morals of contemporary society by distorting and exaggerating certain features, for instance adding extravagant table arrangements and exquisite fancy foods to emphasise the idea of abundance, even overindulgence verging on chaos and disorder. Every character pictured minds his or her own business, and most have their backs turned to the rest of the party: there is neither unity nor dialogue among those present, creating a bleak impression of the impossibility of communication, mounting loneliness and frustration accompanied by a general feel of absurdity.

 

The second part of the diptych features various animals and has obvious allegorical undertones, suggesting a Surrealist play with imagery and associations: every human we see in the first picture has an animal counterpart in the second. Here the main accent is on the little child, the embodiment of purity and promise standing in stark contrast to the anthropomorphic animal-headed figures. To enliven and simultaneously foreground the predatory, aggressive, and hostile atmosphere of the gathering, the Artist chose to add colourful butterflies fluttering across the canvas.

 

The distinct mood of the diptych is supported by the bright raspberry-red backdrop rendered with Ms. Fedorova’s favourite highly saturated hue, reminding one of a theatrical curtain and affording an aspect of staginess and drama. This is one of the Artist’s favourite devices intended to create the impression of a feature film still.

 

The Artist comments the diptych as follows:
‘I was once invited to a very important dinner party with people of the high society, really crème de la crème. The table was beautifully decorated with flowers, fruit, and silverware. I knew no one there, and their status meant nothing to me. I sat quietly, listening to their conversations which, after half an hour, gradually ceased to be all that refined. Frankly speaking, I was bored to death. Whenever I feel bored, my creative imagination kicks in, prompting me to reinvent what I see. All the guests started turning into various animals that they most resembled. I realise this is not my invention: we have all read George Orwell’s Animal Farm. There is nothing new about likening humans to animals and vice versa. However, in my particular case, I feel more sympathy for the animals than for the humans.

 

Of course there is no formal likeness to the actual people or the actual event that inspired the artwork. All characters are merely an amalgamation of different posh types on Pinterest, just as the food and drinks. I tried to put on the table everything that crossed my mind, mixing dishes that could have never been served at the same time but are nevertheless universally considered delicious and classy. The gala dinner consists of two parts – one with humans and another one with their mirror-like animal reflections.

 

Or perhaps the humans were nothing but costumed animals in the first place? That said, there is nothing intimidating about this diptych apart from the general absurdity and self-deception. The innocent child is the only character still capable of making a conscious identity choice.

By the way, I don’t consider myself any better than my characters, and if I were to choose my counterpart, it would be the one on the extreme left.’

 

 

Aleksandra Danilovskikh
Art Historian, Art Expert