Samoylova has been photographing Florida intensively and extensively over the past few years. Samoylova’s images are both deceptive and alluring her compositions with a loaded depiction of colour create a slightly surreal atmosphere. It hides in the empty flooded garage, in the shadow of the trees on the facades, or in vibrant reflections that mirror the emptiness. The semantics of the everyday and the framing angle give away the similarities between the working methods of Evans and Samoylova. There is a certain alerting hollowness behind the rust, the glossy cars and the pristine pinks of Florida’s buildings that lurks in Samoylova’s photographic work. 5 + 2 APĪnastasia Samoylova has aimed her lens at similar subjects of culture and social values as Walker Evans between the 1930s and the 1970s. Both photographers observe, document and elegantly keep subjectivity out of the frame.
#Vernissage movie#
ANASTASIA SAMOYLOVA, MOVIE THEATRE, PAHOKEE, 2018 | ARCHIVAL PIGMENT PRINT | 100 X 80 CM | ED. It combines Samoylova’s contemporary photographs with the historic archive of Florida images by Walker Evans, obtained from The Met Museum’s digitized collection. The book Floridas was published in 2022 by Steidl.
The project establishes a dialogue with the oeuvre of Walker Evans, employing a visual language similar to his detached and laconic imagery. USSR, 1984), documents it all in a layered portrait of contemporary Florida. The place where image and reality become inseparable.įloridas, a recent series by the American photographer Anastasia Samoylova (b. 5 + 2 AP ANASTASIA SAMOYLOVA, WIND, MIAMI BEACH, 2020 | ARCHIVAL PIGMENT PRINT | 100 X 80 CM | ED. ANASTASIA SAMOYLOVA, RUSTED CAR, 2020 | ARCHIVAL PIGMENT PRINT | 100 X 80 CM | ED. On September 2, you are invited to the opening of the exhibition Floridas by the American photographer Anastasia Samoylova.
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