Person of the week: Kate-Анна Taguchi
ARTinvestment.RU   16 июня 2020

I wanted to show humanity as a single stream of life, energy, feelings, emotions. So people in my paintings are mixed flow into one another, become part of each other (Taguchi)

the Art, or rather a set of visual symbols that can be interpreted as one of the phenomena of "collective memory"@now;— complex network in which besides the historical aspects, ideological or religious, in addition to traditions there's another "poetic", the textual dimension. Manifestations of the phenomenon of collective memory and works of a modern artist and designer Katya-Анна Taguchi. Creating their works in the complex author's technique, as it restores the connection times, inventory will past, design the future, draws Parallels between traditional and contemporary art.

Katia-Анна Taguchi was born in 1960 in Riga, in the family of artist Yakov Ivanovich Kozlov, representative of the academic school of Russian painting. In 1971 he studied at the Moscow school of art Institute. В. И. Сурикова, after which he entered the Moscow state Institute. В. И. Сурикова in the workshop of monumental art Tutevol Claudia, a student of academician Alexander Deineka.

Taguchi features a powerful professional drawing and painting, she "absolutely man," as said about her things journalist and producer, epicurean and rebel Igor Maltsev: "It is subject to any technique — from painting to graphic art, printing on any materials; the game with the materials at all her favorite pastime. It is, for example, makes casts, volumes. But each of her work is deeply literary. That is, in this sense, it is absolutely a realist. With all the modern set of technologies" (snob.ru).

Textuality occurs by palimpsest@now;— the technique that the artist uses in his works. Palimpsest from Taguchi@now;— "as a layered way of life, you look at that shines through past and on which shines the future". the Basic background is an image on the canvas concept or what-то decorative. Then on the first layer is applied to the image, but if it gets too realistic, it is destrukt, blur: "Then I paint over everything with white paint. What-то emerges through this layer. And here is @ldquo;что-то@rdquo; I start to pull out, starting to draw again, but not to trace the old, and to hold the line a little-чуть next, creating a new optics. I don't know what happens in the end — every time it is a struggle with the material" (Taguchi, annataguti.ru).

Taguchi's Work form the series. And each exhibition — is a gesture, a deliberate, orchestrated, lived. It uses different technology and works with several themes, prefers black-белую range, but sometimes gently introduces color into his compositions. Consciously limiting himself in color, the artist works a lot with lines and figures. Painting portraits, Stalinist architectureor creating patterns, it builds a kind of mythological space (the"Large portrait", "Embrace", "the Second soul", "Page family album", "Lace and fluctuations", etc.).

In a series of serigraphs on paper "Pages from the family album", presented at the exhibition "Accessories and more" (2015), has been used photos of the lace of the XIX century from the Museum of applied arts (MAK) in Vienna and vintage lace accessories from the artist's family collection, which were combined with the photos, and collectible stamps with a made hand notes, with dried leaves and herbarium in memory of a walk in the woods or Park.

In the works of the project "Large portrait" (2019) we again see an attempt to fix the layering and dynamics of consciousness — huge face, as if painted on the walls with the scraps of billboards, inscriptions from different time periods and peering into his past, which is immediately updated with new moments of time. We see the futility of attempts to isolate from the noise, trying to stop the flow of perception. "the Time is rapidly transforms the present into the past: what was only what is a minute, an hour, a day, a year ago. ...

In the portraits I want to convey concentrated state of a man who recalls his past, tries to understand the present and predict your future" (Taguchi, erarta.com).

@now;

the Culmination of the project "Large portrait" was two live-инсталляции. One of them, the viewer could see how under layers of stamps and advertising hides a vulnerable human face. "Like an oyster without the shell: you can water it with acid, to pierce, to cut. Each of us lives the same gentle, pulsating creature unknown sex, which are very easily hurt. I wanted to convey a sense of absolute insecurity" (Taguchi, (vatnikstan.ru).

About the series "the Coptic-советские tissue" (Eighth project), the artist says: "I consider Coptic fabrics as text which can be edited, added to and even distorted. The text has several meanings and several lives" (Taguchi, annataguti.ru). In ornaments, created on motives of Coptic fabrics, she interweaves the symbols of the Soviet era. These characters unwittingly begin to take on a sacred significance as for the first Christians of the Coptic ornaments.

That unites all these works? Attention to the person who, in fact, becomes the object of its study. "I'm always interested in the twists and turns of fate", they affect the face, they live in the objective world that forms around a person, they are artifacts of memory.

works of the artist are in the collections of the Norilsk Museum of art, the Novosibirsk art Museum, Jewish Museum (new-Йорк, USA), Il Museo Internazionale della donna nell'arte — MIDA (Scontrone, Italy), the Center Frans Maseres (Kasterlee, Belgium) and others.

Alexei Smirnov