Evgenia Slyusarenko

Evgenia Slyusarenko is London based artist, working preliminary in printmaking. Studied at the Heatherleys Schools of Fine Art and is currently completing her MA Print (2023) at Royal College of Art.

Our lives are full of uneventful moments that are not noted in our memories, yet these time periods make up the majority of our existence. We can sum up our days, months, or years through a collection of emotional markers, but stretches in-between are often ignored in our recollection.

My work is an investigation of the subjective experience of time and how it is interrelated with our thoughts and emotions. By opting for a disciplined , methodical and repetitive approach to the making process I attempt to give recognition to these unregistered time intervals in our lives and to create a new emotional markers.

An old photograph or basic domestic object can become an essential component to revive our memories and reconfigure the present. These sincere images, even if they may become lost in abstraction during the making method, have the potential to create a collective emotional response.

Oscillation

Holding on to memories causes them to be stretched and distorted. How much can something be extended before it begins to lose any traces of its original form? Where is the 'breaking point' of a memory?

Medium:

Deconstructed photo etchings on Somerset Paper

Size:

80cm x 145cm

Forty Days in Between

This work reflects on the mourning tradition of the Eastern Orthodox Church and was motivated by a personal loss. It is believed that souls remain on earth for 40 days after death. During this period relatives follows a strict schedule of rituals and ceremonies which represent spiritual intercession on the part of the dead, and believed to collectively await the Day of Judgement. Each plate, and then print, of this work represents a dedicated day from this mourning period. On the first plate, the lines I etched crossed the whole surface from left to right. On the second plate, I broke them once, on the third – twice, and so on. I continued this until the fortieth day. Due to this process, the tone of the plates gradually became lighter, mirroring the grief that also eventually fades with time.