Ekaterina Belyavskaya

Born in 1981. Lives in Moscow. Attended the Moscow Polygraphical Institute and Central St. Martins School of Art and Design ( London). Participated in educational projects at La Fabrique in Milan. Has paintings in private collections in Russia, Israel, the United States, Belgium and other countries.

The metamorphosis that the role of women in society has recently undergone has paradoxically pushed Ekaterina Belyavskaya deep into the etymology of “glamour,” a word that at one time signified magical enchantment. The visual language of glossy magazines has become a hallucinatory prism through which the artist casts a new light on archetypal “women’s stories.” In Catherine the Great, a series of collages, Belyavskaya uses portrait sketches from the life of the empress to reinterpret her personality in terms of a top executive and a post-feminist. Additionally, Little Red Riding Hood is transformed into a huntress. And finally, in Barbarella, Belyavskaya unites art and fashion with humor. The 1960s cult film — an ironic melding of science fiction, the sexual and leftist revolutions, haute couture, kitsch and psychedelia — unexpectedly turns into a story about pursuing the season’s most fashionable items. And acquiring these items becomes more important than the life of a close friend.
Maxim Krekotnev