SIMONA SHARAFUDINOV
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Photo © Ben Lansky
Haus of Perestroika
Sculpture & durational performance (30 hours)
Wood, wool, wallpaper, acrylic, LED lights, latex
70 x 200 x 70 cm
2016 


In conceiving the work the artist reimagines the city and habitation of tomorrow by physicalising the fear of homelessness. Using sensual materials, disproportion and bodily rhythm to edge between play and danger, the viewers are invited to consider an outmoded human body within technological systems. This work was performed in 2016 by the artist for 30 hours over a period of 5 days at an exhibition in Hackney, London.




Photography © Ben Lansky


Photo © Anni Katrin Elmer
Lot #83
Performance (with Julia Wolf)
Tights, synthetic wig, hollow fibre, sound
Dimensions variable
2016 


The costume and performance was a response to the sound piece created by artist Julia Wolf and the 10th Annual Central Saint Martins Art Auction at the Lethaby Gallery. The auction presented 82 lots of wall-based artworks. Combining sound and performance - art forms that spill out of the frame and transgress the limits of the image and wall space. Matching impalpable with corporeal, humorous with terrifying, to bring about questions and invite viewers to consider the value of artists and limitations of a marketable art.




Photography © Anni Katrin Elmer

Video © R.S 


“The eye was first taken on entering the gallery by light reflections and distortions of mirror. It was playful and beautiful but hinted at subterranean disquiet. As you moved closer, curious to look through the peepholes you saw what was contained inside the reflected cube. Simona - her body transformed into a distorted fungal growth, eyes alive with the memory of terror, strung on a wire, electric and banal in a room of wool, felt and rotting ham hanging from butcher’s hooks. It was a work that fully understood how to lead the eye to the central horror of existence whilst children played on the outside hilariously contemplating themselves in the distorted mirrors that made up the cube.” credit: Paul Rhys


Envoi
Sculpture & durational performance (30 hours)
Wood, flexible mirror, door viewers, projector, light bulb, wool, soil, meat, clay, metal, charcoal, canvas,
240 x 240 x 240 cm
2016 


Conceived for and during a month-long L’Agence en Residence residency and exhibited in a solo exhibition in Bordeaux, France. The work was made to exist within a triad of architectural, technological and bodily elements and explore the interaction between the elements and their co-existence in space. The tension that ensued was held by repetitive action, sound and durational performance performed for 30 hours over 5 days.

Named after a poem by Ocavio Paz, the work is a reaction against idealism and a response to the horror of existence, lives lost and shell-shocked into statue-like states by means of technology. Bringing into play a 160 degrees spherical view of a peephole, aesthetically clean, little glass eye, commonly used to protect, screen, as a border between private/public, inside/outside, surveillance/entrapment. The mirrored cube, a phantasm of the ubiquitous square frame where self-reflection takes place, shifting between a funhouse and a peepshow. The audience and its privilege floats upon the reflective surface of a mirror skin. It is this very surface that makes the "exhibition" disappear questioning the space as a protective enclave and the [il]legality of visibility. The choice when to turn away is the privilege.



Photography © R.S 



After Brexit
Audio response
2016 


Created as part of multi-layered performance piece in response to the every-day nationalist hatred, violence and terror. The audio element applies Anne Sexton’s ‘After Auschwitz’ poem to express rage at and revolt against complicity.



A.P.parent Snapshot, 2016
(The Children Act 1989)

Installation
Children’s inflatable toy house, blackboard paint, uv paint, acrylic piggybank, fabric, PVA, rescue blankets, uv lights, air pump
223 x 213 x 198cm
2016 


Hornsey Town Hall, site-specifc work conceived to confront neglect and idealised systems of value through assemblage of children's toys.
An inflatable Victorian children’s playhouse covered in blackboard paint stands in obstruction to visitors way. A continuous airflow makes the house breathe. Inside the house UV lights reveal a forensic trace, marks of something gone horribly wrong, a small acrylic house (a piggybank) stands amongst the carnage.





Photography © Ben Lansky

All rights reserved © 2021 Simona Sharafudinov  ︎