Tilda Publishing
This project is a branch of my research into the diversity and aesthetics of visual embodiment of chance and unintentional destruction in our environment.
This research focuses on garage cooperatives, where the initial uniformity and identity between each garage door highlight the uniqueness of inevitable fading patterns that occur after some time on any surfaces. As a result, the influence of sun, rain, frost, as well as time, accidents, and regular usage has made each garage acquire its absolutely unique visual features, which made it different from the neighboring one, despite all the original uniformity.
This research focuses on garage cooperatives, where the initial uniformity and identity between each garage door highlight the uniqueness of inevitable fading patterns that occur after some time on any surfaces. As a result, the influence of sun, rain, frost, as well as time, accidents, and regular usage has made each garage acquire its absolutely unique visual features, which made it different from the neighboring one, despite all the original uniformity.
Distinction & Decay
I believe that destruction can be more complex and intriguing than creation
installation
research
Step 1
Georgia
Georgia
The beginning of this research was laid in Georgia. This country is filled with old, beautiful architecture that has long been neglected. For me, this was not a downside, but rather a fortunate coincidence and source of inspiration. I collected numerous unique features of buildings that were acquired through time and contingencies.
At that moment, I had no idea where all this would lead me. Ideas came to me during the process. At this stage, I observed and collected anything that piqued my interest. During this process, I was reflecting on the significance of this details, relevance in the context of the city and reasons why am I attracted by them in general.
At that moment, I had no idea where all this would lead me. Ideas came to me during the process. At this stage, I observed and collected anything that piqued my interest. During this process, I was reflecting on the significance of this details, relevance in the context of the city and reasons why am I attracted by them in general.
Step 2
Moscow Garages
Moscow Garages
Upon returning to Moscow, I explored the exquisite architecture of the city center as well as the residential and industrial buildings on the outskirts. There are a lot of garage cooperatives in my district, which are a common sight in Russia. They remind me of my childhood, as my father had his own garage in one of them. Although they are familiar, they often go unnoticed due to their ubiquity.
I intuitively began to look into them, simultaneously reflecting on the idea of uniqueness. I realised that for something to be considered unique at once, it must not have been so before. Garages are ideal examples of basic and unimpressive structures. Each cooperation is uniformly painted in a single color, typically green, blue, or red, visually integrating the entire cooperative.
I intuitively began to look into them, simultaneously reflecting on the idea of uniqueness. I realised that for something to be considered unique at once, it must not have been so before. Garages are ideal examples of basic and unimpressive structures. Each cooperation is uniformly painted in a single color, typically green, blue, or red, visually integrating the entire cooperative.
During the trip to Georgia, the idea of uniqueness was spinning in my head, that the process of decay in each building looks its own special way and gives architecture some unique features. But in the context of initially diverse and beautiful buildings like in Georgia, such a concept sounded very unconvincing and weak.
An interesting observation: the old, faded garage cooperative, where I conducted my first photoshoot, was completely repainted just a few weeks later. Any uniqueness it had was gone. I was fortunate to capture the fleeting nature of that delicate moment.
Step 3
Collection
Collection
Gaining access to cooperatives was often challenging. There were many cases when I was either not allowed in or kicked out when I penetrated without asking. The security often mistook me for a journalist, suspecting that I could provoke the demolition of garages (this process currently actively underway in Moscow). It was hard to convince people that I was here for the sake of art.
I captured anything that piqued my interest. Peeling coatings, stains from oil or paint, some traces of amateur repair, and so on. The images I saw sparked various associations, drawing me into the process more and more. I felt that I was literally searching for treasures, collecting traces of invisible life.
I captured anything that piqued my interest. Peeling coatings, stains from oil or paint, some traces of amateur repair, and so on. The images I saw sparked various associations, drawing me into the process more and more. I felt that I was literally searching for treasures, collecting traces of invisible life.
Step 4
Printing
Printing
After gathering numerous garage photos, I started to isolate unique details from them. I wanted to see how these forms felt when removed from their original context. In these isolated forms, one might attempt to discern the action behind them, but it's not always feasible. Consequently, I created a kind of an abstract infographic of garage cooperatives.
For printing, I used thermal paper identical to receipt paper. The surface of this paper is coated with a chemical reagent that reacts to the heat of the printer, allowing images to be burnt without ink. And after printing, the images react to ultraviolet light, fading and disappearing over time. I found this a curious connection with the process of changing garage surfaces, which made this paper the perfect solution for the installation.
For printing, I used thermal paper identical to receipt paper. The surface of this paper is coated with a chemical reagent that reacts to the heat of the printer, allowing images to be burnt without ink. And after printing, the images react to ultraviolet light, fading and disappearing over time. I found this a curious connection with the process of changing garage surfaces, which made this paper the perfect solution for the installation.
For the installation, I required a suitable space. Initially, I planned finding an empty, old garage for this. I found a charming open garage (fig.1) which lacked doors and had a damaged roof that let in natural light. After spending a lot of time trying to find the owner, coming over and over to this place, I finally faced a car parked there. I found the phone number with help of the car's license plate and sent a text message. Nobody answered.
One day, having already left the cooperative and going home, a man approached me and asked what kind of camera I had. Word for word and I briefly told him where I was coming from and that I was collecting material for an art project. The man said that he owns a garage in the same cooperative and offered help. He was genuinely interested in my unusual view of such usual things to him.
One day, having already left the cooperative and going home, a man approached me and asked what kind of camera I had. Word for word and I briefly told him where I was coming from and that I was collecting material for an art project. The man said that he owns a garage in the same cooperative and offered help. He was genuinely interested in my unusual view of such usual things to him.
fig.1
fig.2
He walked around the cooperative with deep fascination (fig.2), finding some details from time to time and telling me his associations like "look, it reminds me a turtle!" (fig.3) I was incredibly touched. For the first time during all the research, someone understood me and got so carried away with my idea.
We explored various garages where the installation could potentially be. The man showed his garage too, but unfortunately, it was not suitable. He gave me the phone number of the director of this cooperative to ask about the owner of that garage. The call ended with a very harsh and clear request from him to leave the cooperative and never come back. Realising that the idea was not working at all, I obeyed the request, thanked the kind new acquaintance, and left.
We explored various garages where the installation could potentially be. The man showed his garage too, but unfortunately, it was not suitable. He gave me the phone number of the director of this cooperative to ask about the owner of that garage. The call ended with a very harsh and clear request from him to leave the cooperative and never come back. Realising that the idea was not working at all, I obeyed the request, thanked the kind new acquaintance, and left.
fig.3
After my fascinating, but highly stressful journey through numerous garage cooperatives, I realised my desire to complete my research in a more relaxed atmosphere. The decision was to find a place among the abandoned buildings where nobody cares about me and my art. I had an entire abandoned children's camp from the USSR era in mind. There are a vast number of wonderful mosaics and wooden buildings, as well as brick living blocks. I knew the territory well and the presence of a large number of different buildings in one place gave me the opportunity to thoroughly choose a place.
For the installation, I prepared a stencil with text in the style of numbers on garages and printed it on the wall using spray paint. After completing the installation, I wanted some continuation of the life of this work, so I left the installation in place to the mercy of fate... or chance:)
Half a year later, I returned there and found that not a single photo remained. All were neatly taken off. It is very interesting to wonder who took them and where they went, what that person thought.
This was an end of a great journey.
This was an end of a great journey.
Step 5
Installation
Installation
I was looking for a place with good lighting and interesting wall texture that could also support attachments. I chose this room in a residential block. There wasn't much garbage, and the wall had a flat texture.
book
I documented my journey from beginning to end in a concise narrative within a book. I opted for a relatively simple and structured layout, with the key detail being the paper. The four types of paper were selected: one for photographs of the process behind the installation and scans of “receipts”, one for the text, one for the final photographs of garages, and one for the cover. I've always been fascinated by books with different types of paper and overlapping page sizes. Flipping through such a book is always captivating and intriguing.
The key aspect when choosing paper was tactile qualities and associativity. Kraft paper for notes and drafts – reflected my light style of storytelling. Matte dense photo paper for garage photos reflects both that the photos were taken with a professional camera and are the core of my project, as well as the matte and density of the garage surfaces. The paper for the other photos is light and thin – as this is all process and details. For the cover, under transparent plastic, I chose very textured paper, with obvious roughness and random patterns. This is almost invisible if not examined, but for me this detail is also very important, as it is also a direct connection with the overall theme of the project.