Marina Fedorova was born in 1981 in Leningrad. She has graduated from the State Academy of Art and Design / St.Petersburg /, fashion design faculty in 2006.
Nowadays lives and works in St. Petersburg.
SELECTED PERSONAL EXHIBITIONS
2010 Consumer society. Nevsky prospect, 5 - the space of the federal project citycelebrity. Curator - Sveta Nikolaeva. Saint-Petersburg,
2009 Retour - Stop - Cadre. Paris, France
08.08.08. D137 Gallery, Saint-Petersburg
2008 To live in Paris. D137 Gallery, St.Petersburg
The artist of a year of “Nicolas Feuillatte”, France
The lonely, The Red Hall. Winzavod, Moscow
The lonely. D137 Gallery, Saint-Petersburg
2007 Visions of Autumn. "La Berteska-Masnata" gallery, Genova, Italy
Short meetings... Orel Art presenta, Paris, France
Official painter of 7th international ballet festival “Mariinsky”
2006 A La Mod. Art Strelka. XL gallery. Moscow
Autumn time, "D137" Gallery, St. Petersburg
2005 One Fine Day. D137 Gallery. St.Petersburg
SELECTED GROUP EXHIBITIONS
2008 "Red thread ", "Kadieff " и "Krista Mikkola" galleries, Helsinki, Finland
was represented at Art Paris. France
Kandinsky Prize-2008. Central house of artists, Moscow
2007 Field's architecture. Russian Museum, St-Petersburg
was presented by D137 Gallery at the Art Moscow
2007 The International contemporary art fair. Moscow
Every picture tells a story. From the private collection of Artemy Troitsky. D137 gallery, St.Petersburg
2006 was represented by D137 Gallery on the Arte Fiere’2006
Project L’Esprit Nouveau. Bologna. Italy
Art Crescendo. Minor Hall of St. Petersburg Philharmony
was represented by D137 Gallery at the Art Moscow
Qui Vive, international younth art festival. Zverevskiy center for contemporary art, Moscow
2005 was represented by D137 Gallery at the Art-Moscow fair
2004 BIN 2004. Manege. St. Petersburg
15th Stars Hotel. Exhibition hall of the New World of Art Magazine. St. Petersburg
2003 Modulor. St. Petersburg
The State Russian Museum (Saint-Petersburg), D-137 Fondation, company "Coca-Cola", company "Nicolas Feuillate champange", Mariinskiy theatre, Orel Gallery (Paris), SONS Museum (Belgium), ERMES-studio (Italy) etc.
art-historian, The State Russian Museum, St. Petersburg
From the text for the personal exhibition at D-137 Gallery in January 2007.
Marina Fedorova graduated from the Mukhina Art Academy in 2006. Defense of her thesis was quite a performance. Fashion designer and illustrator, Fedorova painted a white dress right on a model whom she met face to face at the podium.
Professional precision of Fedorova’s manner was immediately noticed by many critics and viewers Marina devotes the series by her works to the cult figures of fashion art, including Coco Chanel, Yves Saint-Laurent, Vivienne Westwood, Yohji Yamamoto, Alexander MacQuin and photographer Helmut Newton. Marina Fedorova is distinguished by her ability to show her subject in the flash of its total disclosure. At the same time, the artist does not yield to the style and spirit her protagonists, even if they are legendary fashion designers. She definitely has her own style and there is no reason that would make her to give up being herself.
Portraits of fashion designers and genre pictures-frames are made in Fedorova’s own style – they employ the manner of cinema posters of the Nouvelle Vague time, the wintry language of pop art’s transcription of advertisements and the quickness of magazine illustrations that absorb the light glare of fashion. Since Fedorova’s pictures seem to be infiltrated with the lipstick carmine they are superficially attributed by critics to the currently popular trend of trash glamour.
This trend is occupied with the utilization of ‘glamorous garbage’ of media images.
Fedorova’s attitude to the image recycling in cinema and photography is quite different. The phenomenon of global mass media recycling that exercised postmodernist minds of the late 20th century shows its other side at the beginning of the 21st. Now, it brings attention to the image ecology.
Fedorova sees her task not so much in the mythologization of mass copying as in the creation of a place for private art meditation beside the objects of mass worship. This is achieved by means of adding her own interest to the impersonalized cult of the millions. Each of her paintings is this sort of meditation – should it be focused on Pollock’s and Hopper’s styles or on Westwood’s and Chanel’s design.
In the world that makes it more and more difficult to avoid substituting thoughts and emotions for their surrogates, artists’ work has again to imitate the natural mechanisms of either self-making or self-purification. It is artist who is responsible for the vitality of megalopolises’ visual milieu. And it is the vitality of silvery colour in Fedorova’s landscapes and the emptiness of the white appearing between two cups on a table in her still lifes that make the space of these paintings living and unforgettable.
The painterly device invented by Fedorova will always preserve freshness and clarity of world perception for everyone who happened to resonate with her pictures.