Anna Katya Taguti has always been a potent professional in drawing and painting, even when we met 15 years ago and everyone knew her as Kozlova. That was the surname of her father, an illustrious soviet artist.
In our times of contemporary art (sovrisk) you can generally hardly find a good draftsman, today such people are very few. So Katya with her absolutely male hand is one of them. Any technique is subject to her – from painting to graphics or printing on any matter; a game with matters is generally her favorite method. For instance, she makes plaster casts and volume images. However her every artwork is deeply literary. That is she is absolutely realistic in this sense. With all the modern technologies.
The exhibition, opened on June 3 in Perevedenovsky lane, 18. These are several series of huge frameless canvases on the wall. I managed to see the beginning of work on this exhibition five years ago and even take part as a model in the “Embraces” series.
And the experience was extremely cognitive.
“When a person embraces another one, he is so close, that he cannot see, whether another one is deceiving him or not”, Katya used to say. Several works from this series are exhibited here – these are completely different persons, close to the artist.
Another series is dedicated to her father and his difficult life path. That is it generally starts from biography and looks for harmony in the connection with past and history. This is the subject of “historical” works astonishing with its metaphors.
The works are quite few, filling but a one hall. But what you actually want is to sit down and think, carefully ingesting the messages put by Taguchi in every canvas. Her primarily area of concern is the life process of a person itself – flowering, gradual decay, aging. In her performance it is not tragic at all. the works are quite bright and clever. It is always a story from the first person – that is, personally from the author. This is where Taguchi’s creativity differs from the formal approach. the form here is only a derivative from the idea. And, of course, in the technique of each picture – the whole history of art, starting with the mastery of the Renaissance classics and ending with the clip-like vision characteristic of the era of endless editing of reality.
This must be seen and experienced. And the exhibition is still going on.