Asphodel Meadows

2013

Vegan

150x100 cm,
C-print under Diasec,
Edition of 5 with 2 APs

Nimbus

150x100 cm,
C-print under Diasec,
Edition of 5 with 2 APs

Reserve

150x100 cm,
C-print under Diasec,
Edition of 5 with 2 APs

Green kryptonite

150x100 cm,
C-print under Diasec,
Edition of 5 with 2 APs

Fantome of the Opera

150x100 cm,
C-print under Diasec,
Edition of 5 with 2 APs

Vertigo

150x100 cm,
C-print under Diasec,
Edition of 5 with 2 APs

Boogie man

150x100 cm,
C-print under Diasec,
Edition of 5 with 2 APs

Glowfish

150x100 cm,
C-print under Diasec,
Edition of 5 with 2 APs

Text to the exhibition "The Kandy-Kolored Tangerine-Flake Streamline Baby" in the Grinberg Gallery Moscow

Modern worshipers of visible beauty are heirs to the ideology of early 60s. What they do is a reality tuning of sorts: if reality is not good as it is, it can be rearranged visually, and according to the magical laws, reality will become just like it is being shown in the pictures. If two things are alike, they are the same.
Banal urban sights and models become characters of computer games and all-digital movies, mythologically romantic, lacking any individual features. This is another aspect of sinking into digital depths. Without comprehending the personal, we are foredoomed to see the general, and the best works of the Whitesnows provide absolute generalization, nothing that would read as a place or even time.
What is left, then? It is a surface to feast one’s eyes on. That’s why the works of the Whitesnows turn out to be the sharpest portrait of time and people in it.

Larisa Grinberg