Breakfast with Cindy Sherman, 2018
"16 x 16" (40,6 x 40,6 cm), edition of 10
retail prize $2000



 

Camouflage, 2017
"16 x 20" (40,6 x 50,8 cm), edition of 10
retail prize $2000


 

 

Coral Reefs, 2017
"30 x 40" (76 x 101 cm), edition of 5

retail prize $4000



 

Breakfast With Stephen Shore, 2017
"16 x 16" (40,6 x 40,6 cm), edition of 10
retail prize $2000



 

Breakfast With Robert Frank, 2017
"16 x 16" (40,6 x 40,6 cm), edition of 10
retail prize $2000


Anastasia Samoylova

You assemble photographs as 3D still life arrangements, mostly with landscape images, and then re-photograph them. Tell us more about this part of your practice.

I’m fascinated by the transformation of space that happens via optical perspective in photography. Also once the images are printed out they become objects, and then by re-photographing and hence re-flattening those objects I am playing with photography’s most essential characteristics, such as the illusion of depth and the role light has on that perception.

 

How do you begin a new body of work?

I start with image research on the subject that interests me and then produce a number of experimental small sketches.

 

The images in your collages are sourced from the Internet. Why did you choose to use sourced images instead of your own?

Right now it’s a mix, although the majority of the images are still from the Internet. With the subject I chose, picturesque nature-themed images, I thought that there was no need to add my own interpretations to the massive archive of already existing depictions. Photography is truly ubiquitous I wanted to explore the democratic but almost ritualistic potential of this medium. Why are certain kinds of landscapes always depicted in a similar way? Where do these pictorial conventions come from? How do they change through the history of art to image shared on social media?

 

What draws you to a specific landscape?

I look for the views that are easily recognizable across cultures, vistas that are considered universally picturesque. The very first photograph in the series was of flower fields, flowers being the symbol of perfect beauty.

 

You were born in Russia and studied Interior Design in Moscow. Does Interior Design play into your work? Are there elements from your education that inspire your current practice as a visual artist?

I started out in photography while studying architecture back in Moscow. After my paper models of buildings and environments were created I would document them with a camera for presentation. Photography has the ability to transform space while retaining the illusion of its reality. Gradually I started preferring these photographs to the models themselves. That approach to recording a constructed world carried through into my current practice.

 

Why did you chose photography as your medium?

I was always drawn to the democracy of digital photography, to its communicative ability. I don’t think I would have chosen photography as a primary medium if it were still in its analog phase. I may have chosen something more Warholian, perhaps screen-printing. While photography gives me immense enjoyment I am acutely aware of its darker underside, its ability to deceive and its pervasive agenda, as it is so embedded in the world of commerce. As Susan Sontag pointed out, “A capitalist society requires a culture based on images”.

 

What inspires your work most?

The world of images we live in, and the types of issues that manage to surface through is photographic flow. In the current documentary project that I’m working on, titled FloodZone, it is the environment that I’m interpreting with my camera, Miami and its surroundings. But even here, I feel acutely aware of how the experience this place is preceded and shaped by the imagery of it that we have seen. My photographs are in dialogue with those expectations and perceptions.

 

What do you enjoy doing when you are not working as an artist?

My favorite thing is to escape to the nature. I love to be on the water and find paddle-boarding to be the perfect combination of meditative contemplation and physical activity.

 

What are your favorite places in Miami?

Oleta State Park (3400 NE 163rd St, North Miami Beach), Institute of Contemporary Art (icamiami.org), ArtCenter South Florida (artcentersf.org), Perez Art Museum (pamm.org).

 

What projects are you currently working on?

My new body of work, FloodZone is an expansive photographic project reflecting and responding to the problem of rising sea levels. Focusing first on the American South and increasingly on the East Coast—with the ultimate goal of documenting fifty communities at high risk of rising tides in Virginia,North and South Carolina, Mississippi, Louisiana, etc.—the project goes beyond the familiar types of images produced in the aftermath of hurricanes and massive flooding. With this project, I am expanding my practice beyond the studio and the two-dimensional print towards fieldwork that will result in multimedia documentation, with the intention of shaping the work into both a book and a modular three-dimensional installation adaptable to different venues. Reflecting diverse strategies of display, the physical volume and installation will combine printing techniques and incorporate artifacts such as banners, prints and industrial materials.

BIO

Anastasia Samoylova (b. 1984) is a Miami-based artist working with photography and installation. Samoylova has exhibited internationally, including Aperture Foundation in New York, Griffin Museum of Photography in Boston, and in photography festivals in Belgium, Brazil, France, Netherlands, China and South Korea. Her work is in the collections at the Museum of Contemporary Photography Chicago, Stanford University, Yale University, and Art Slant Collection Paris. Her book, Landscape Sublime was

published by In the In- Between Editions in 2016. Her public art commissions include O’Hare International Airport Chicago, San Francisco International Airport, Mount Sinai Hospital Miami Beach, Hyde Midtown Miami, and Américo Renné Gianetti Municipal Park in Brazil. Her work has been featured in The New Yorker, Foam, Wired/Japan, ArtPress/France, Dear Dave Magazine, Unseen/Netherlands, Der Grief and other publications. She is an artist in residence at the ArtCenter South

Florida for the 2018 and she completed a residency at Mass MoCA in 2017. In 2018 she was awarded two grants for her ongoing documentary project FloodZone, the South Arts Fellowship and Michael P. Smith Fund for Documentary Photography. Samoylova is represented by Julie Saul Gallery in New York.

anastasiasamoylova.com