Russian, b. 1974
signed Belkina and with the artist's studio label on the reverse
archival pigment print, edition 4/8 (+2AP), 2017. Printed in 2020
unframed: 100 by 100cm., 39¾ by 39¾in.
framed: 102½ by 102½cm., 40¾ by 40¾in.
This work has been examined under glass.The artist's sheet appears to be in very good condition, colours are strong and vibrant.
This work is in very good original condition and is ready to hang. Presented glazed, in a Diasec mount.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
From the series Zweiraumwohnung, conceived in 2017.
Katerina Belkina is best known for her digitally manipulated self-portraits in which she combines her photographic and painting skills together to create portraits that according to the artist 'seek out the hidden layers in people'. Blurring the boundaries between painting and photography Belkina’s work investigates the role of woman in society, as well as the artist/model dichotomy.
Since childhood, Belkina has always been inspired by classical art. With her mother being a painter, art history books were scattered around the house and proved to be an important source of inspiration for her work. It is therefore not uncommon for her to pay homage to notable artists of the past.
In Besrat-Good News, the yellow and blue colour scheme, the domestic interior, and the soft light coming through the window are all elements reminiscent of the great Dutch master Johannes Vermeer. Most notably Belkina was inspired by his paintings The Milkmaid and Woman in blue reading a letter (Rijksmuseum, Amsterdam). Fifteenth-century room interiors are here replaced by a bare, modern stairwell, while pale skinned models are substituted by a young black woman carrying a milk carton. It is Belkina’s contemporary take on depicting a scene from everyday life, the portrayal of a young woman’s private world, absorbed reading a text in the early morning light.
Given the multiple layers of significance embedded in Belkina’s works, and the sophisticated staging, programming and post-production each work requires, one would be mistaken to read the artist’s choice of a black woman as a simple coincidence. She is, in fact, clearly hinting to the long history of Dutch colonialism and slavery.
As Belkina often declares, her art is her theater, a place where she can explore human emotions. In Besrat-Good News, the centre of the stage, and of art, is now open to everyone.