Anna Kazmina
The Art of Abiogenesis

Human beings have long held a keen interest in observing the relationship between living organisms and seemingly non-living matter. Throughout history, various theories were put forth on this subject, some of which may now seem unscientific and outdated. One such theory is Abiogenesis, which posits that living entities can originate from non-living matter. For instance, there were beliefs that certain trees had the capacity to give birth to lambs, and even the ancient Greek philosopher Empedocles proposed that trees could hatch eggs. This theory of abiogenesis sheds light on the core of contemporary societal evolution.

Anna Kazmina's new project reflects on concepts intricately linked with the essence of life. Energy, the prime mover of all motion, predates life on Earth and serves as the driving force behind creativity in its broadest sense. Humans are in a perpetual state of generating forms, and with time, these artificially created forms become integrated into life itself, blurring the lines between the natural and artificial worlds. Within this creative process, every artistic act embodies a dual nature, involving both the act of creation and the act of destruction, as the artist, through the act of dismantling, liberates the latent energy within the material forging it into a new form.

The works featured in this project have undergone a deliberate process of destruction and reinvention, consciously guided by the artist. Kitschy porcelain pieces have been deconstructed and adorned with bold, powerful impasto daubs of paint. Starting as drawings, the paintings have been digitally processed into pixel images before reentering the physical realm to continue their engagement with the artist, paint, pastels, synthetic materials, and ultimately the exhibition space and its viewers. As the artificial, born from human creation, melds into the gallery's walls, it yields a state of entropy that sparks interaction and interconnection between viewers, the artwork, the space, and the artist. We all become part of a network of creative energy, which we carry forth into the world, expanding the realm of life.

Anna Kazmina's works establish a direct connection with the viewer, thereby transforming the exhibition into a realm of discourse. This communication is facilitated through a costume made of fabric, fiber, and acrylic. Kazmina constructs a work that seamlessly integrates into the exhibition space, anchored to the wall by adjustable and stretchable fasteners. Consequently, the artificial creation traverses through stages where it is incorporated into the architecture of the building, the artist, and the viewers themselves, evolving as part of the larger process of abiogenesis.