Victoria Andrejeva

Transformation Into Ensuing Conformation
26.10.2018 – 17.12.2018

Grzegorzki Shows gallery presents a work that has never existed before, belonging to a movement that nobody really begun, made by an artist who has never been trained as such. 
For the past 10 years, Victoria Andrejeva has been crafting temporary worlds in which functional creations such as an artisanally made shoe line, clothing and accessories, found a place of belonging. The wearable objects have always been like actors in a story, this time staged without characters, just bare-bones plot contextualised by the gallery space itself as a form of artistic installation. There is something rather ephemeral about it, and yet Andrejeva’s work is solid, utterly concrete, eager to speak to the public without the immediate necessity of being understood. 
Rather than being a conceptual work, it is the materialisation of a concept that does not claim hermetic interpretation but humbly exists, as simple as life is, as complex in its infinite manifestations. It is not something easy to classify because it does not really stay still, it crystallises an ever changing energy that does not stop even though it appears motionless. It is not the result but the embodied process of an act of creation fed by the author’s stream of consciousness, which keeps running wild, ignoring any borders. 
As a matter of fact it may be perceived as the representation of the existence of an individual. In the very many phases of our life we gather objects, we accumulate experiences, we collect victories and failures, we break, we destroy, we create, and then we try to make sense of this great portfolio of meaningful and meaningless things. 
In a social and political time in which individuals are alienated from each other, everyone feels the urgency to create a familiar environment to feel reassured against the unknown. The fear of what is different generates the conforming mindset, which prints out labels that stop the flow. The house of the liberated soul is a cocoon with shattered walls. 
Victoria Andrejeva’s artistic intervention welcomes visitors in her private dimension dominated by an impulse of “doing” and “transforming” that drove her boundless creative expression. It is personal and yet the so detached, rational and emotional, neat in its organised chaos. It is Victoria’s story, it is your story or perhaps nobody’s story: the level of engagement is open. 
What can’t be understood can maybe be felt.

Cecilia Musmeci