Letters From Far Away Places: New Work by Masha Gvozdov

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Letters From Far Away Places
New Work by Masha Gvozdov

On View June 22 - Sept 1, 2018

Opening Reception:
Friday, June 22

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Local Greenpoint artist Masha Gvozdov has harnessed her stream of consciousness through painting, drawing and the written word.  Inspired by digital technology, created through analog methods, Masha looks to bring her Letters From Far Away Places back home.

This work is all about love, different kinds of love. Each drawing is an emotional outburst from a
different relationship. These are tributes to past, present and future loves. Letters to a lover,
lamentations on a rogue love affair or yearnings for a love that has not yet begun.
I have written almost as long as I have been drawing but I have always considered myself more
of an artist than a writer. I have found a way to use both to complete my thoughts on paper. It’s
hard to transcribe feelings without words, perhaps a longing in the eyes or a bitter sweet smile,
nude bodies tangled in a dance - still, for me, words are necessary to complete an image.
My work is primitive, lines simplified or drawn crudely. This is part of my drawing meditation, to
use simple but deliberate gestures and leave lines as they are, without reworking or

My work acts as a bridge between my conscious and subconscious worlds. Pictures
complete words and words complete the drawings. Love seems to have become my most significant subject matter, in art as in

I work with whatever materials are available at the moment. The limited supplies give more
personality to the work. I recently started drawing with my finger on my smart phone. I like to be
surprised at what comes out through use of limited colors and lack of control in gestures. I print
these drawings and paint on top of them, so in a way they serve as a guide for my
subconscious. I use words to complete the drawing, I choose to be more careful with the words
than the drawing itself. The words must apply to everyone not just my own emotional

Much like some relationships, I used to feel so possessive of my work, so careful with it as to
not ruin it. It existed in my chains, bound by my control - and I was so narrow in my exploration
of myself. Giving up control has elevated not just my work but me as a person, it broadened my
acceptance of my surroundings. Accepting and finding beauty in everything as is. Being a
grateful observer rather than a controller. Through the limitations that I impose on myself, the
drawings belong to themselves rather than to me (the artist). I am merely a vessel for their

I have drawn pretty much since I could hold a pencil. My father was an artist and he developed
a love for it in me. In childhood, I studied art theory and classical painting in the USSR. Later in
my teens, after we had moved to the US with my family, I continued my studies under a Russian
Classical painter and naturally continued my art studies after highschool. I went to school for
painting and printmaking, first to a community college then transferred to CCAC in Oakland, CA.
The rules of classical painting seemed to limit my personal emotional release through art.
Classical painting became boring to me, depicting objects as they are with beautiful strokes of a
brush seemed to lack substance. I started tying to disfigure my subjects and objects, trying to
simplify lines and use of materials. I began to meditate in my work, turning off the part of the
brain that wanted to control how an object or a body was supposed to look. I relinquished
control and my work began to breathe more life of it’s own when there were limitations put on
my time with it.

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