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Work Samples

Renaissance #1

2017, Inkjet print on paper or aluminum, 27x20

Renaissance #4

2017, Inkjet print on paper or aluminum, 27x20

Renaissance #18

2017, Inkjet print on paper or aluminum, 27x20

Renaissance #45

2017, Inkjet print on paper or aluminum, 27x20

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About Genna

Baltimore County

1997- to present lives and works in Baltimore 1980-1985 attended St Petersburg State Academy of Art & Design St. Petersburg, Russia 1972-1976 attended Kiev Art & Design College, Kiev, Ukraine 1957 born Kiev, Ukraine Exhibitions 2016 Levels of Abstraction, Broadway Gallery, Alexandria, VA 2011 Abstraction and Realism, Ratner Museum, Bethesda, MD 2010-2011 Personal Space, Positron Gallery, Baltimore, MD 2009 Existence, International Gallery, Sewickley, PA 2009 Russian Spirit II, Art... more

Renaissance

The photographs of an Auschwitz prisoner Wilhelm Brasse taken at the concentration camp for the Nazis. The Reich was obsessed with bureaucratic records and setup ‘Erkennungsdienst,’ the photographic identification unit.

The camp’s commander discovered Brasse’s much needed technical skills to better document The Final Solution.

Concerning Brasse's work, a three-quarter frame with a prison headgear was required. Not yet fully emaciated, each subject calmly posed for the camera, following the directions of the photographer. Each subject stares off to the side, a little upward, as in many painterly portraits done at the time of the Renaissance. Open faces, accompanied with a beret, evoke many of the anonymous men of Renaissance painting.

Quietness, a calming atmosphere… a couple minutes of the Human Condition

gave these prisoners a gift from the Past. Unexpected parallels of times, conditions, dignity ... stand against a particular evil. Renaissance as the law of survive.

Collective

Wikipedia defines the word “Collective” as a group of entities that share or are motivated by at least one common issue or interest, or work together to achieve a common objective. My take is to scour Facebook for profile pics, (portraits really!), in hopes of appropriating these images into a digital collage. Both pieces within this series, “Most Wanted” and “Managers,” attempt to reconcile the facial features and color palate of each grouping – one criminal, one corporate – as they’ve been randomly selected as source material. A closer look at the mug shots vs. professional headshots, reveal an important racial, gender, and socio-economic contrast between them.

  • Managers

    Wikipedia defines the word “Collective” as a group of entities that share or are motivated by at least one common issue or interest, or work together to achieve a common objective. My take is to scour Facebook for profile pics, (portraits really!), in hopes of appropriating these images into a digital collage. Both pieces within this series, “Most Wanted” and “Managers,” attempt to reconcile the facial features and color palate of each grouping – one criminal, one corporate – as they’ve been randomly selected as source material. A closer look at the mug shots vs.
  • Most Wanted

    Wikipedia defines the word “Collective” as a group of entities that share or are motivated by at least one common issue or interest, or work together to achieve a common objective. My take is to scour Facebook for profile pics, (portraits really!), in hopes of appropriating these images into a digital collage. Both pieces within this series, “Most Wanted” and “Managers,” attempt to reconcile the facial features and color palate of each grouping – one criminal, one corporate – as they’ve been randomly selected as source material. A closer look at the mug shots vs.

Art History

I was once taught – if you want to see “the whole picture,” you have to squint your eyes. Nowadays, this can be done on an original and innovative technological level. A simple computer can virtually squint for you. And in many ways, an artist’s palette has become less tactile, more scientific – even algorithmic – in one’s conceptual approach and execution to making something “new.”

I choose to explore this by going back to the old masters and researching the bigger names of international contemporary painting. What started out as an experiment using Photoshop to average the measure of color used in various canvases quickly became a larger challenge to document and best express “Art History,” from a very subjective, but encyclopedic point-of-view. The series is presented as a diptych – one image showcases artists whose surnames begin with the letter “A,” the second - with “Z.” Each pixel represents the averaged color of one artist’s creative oeuvre. Each artist appears in alphabetical order.

  • Volume A

    I was once taught – if you want to see “the whole picture,” you have to squint your eyes. Nowadays, this can be done on an original and innovative technological level. A simple computer can virtually squint for you. And in many ways, an artist’s palette has become less tactile, more scientific – even algorithmic – in one’s conceptual approach and execution to making something “new.” I choose to explore this by going back to the old masters and researching the bigger names of international contemporary painting.
  • Volume Z

    I was once taught – if you want to see “the whole picture,” you have to squint your eyes. Nowadays, this can be done on an original and innovative technological level. A simple computer can virtually squint for you. And in many ways, an artist’s palette has become less tactile, more scientific – even algorithmic – in one’s conceptual approach and execution to making something “new.” I choose to explore this by going back to the old masters and researching the bigger names of international contemporary painting.

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Genna's Curated Collection

This artist has not yet created a curated collection.