Ukraine – Artist
The Filters are Overstrained
It is the courage of quitting seeing things through rose-coloured glasses and knowing absolutely nothing for an instant.
When I first looked at the glasses, I could not help myself but think about the media and what a tremendous influence they have on our perception of our own environment or ourselves. It is a tool to blur the lines between the real and the artificial, to manipulate and alter the perception. I thought about the current situation in Germany, politicians’ misleading politics, the journalists’ Machiavellian treatment of information on the TV and in newspapers and the rising anxiety in the society. The miscommunication on the part of politicians and misunderstanding of the state of affairs of the public leads to internal hostility resulting in split of society. Being in a deep state of paranoia people treat each other with mistrust assuming to have a foe in front of them. Observing this I cannot help but challenge the notion of the objective truth and if it is possible at all to discern it.
What we perceive, experience, comprehend and do not understand shape us to a certain extent with misconceptions evolved out of a constant interplay with the objective truth. It means that what we believe to know is actually to a certain degree not valid. We are aware of this fact and perceive our environment through rose-coloured glasses that either discloses us an awry version of the reality or its outline in which the truth is obfuscated. As patterns, evolved out of our life experience and dubious external information, define and distort our thoughts and understanding, we have no choice but to treat the truth subjectively.
The object, I received to work on, consists of lenses, frame, and temples. Lenses are universal and boast no individual features, therefore I replaced them with crystals grown jumbled and at different space. If the lenses function to facilitate full vision of environment, crystals represent in my works filters, the crystallized impressions, information, knowledge obtained in the past through which we generate our own meaning of the world. One temple of one of the glasses is broken off. The common function of temples is to connect the front frame and the back of the head to stabilise the vision. Temples in my work stand for the pillar of our reality. So when, the frame is overloaded with filters, that we are looking at the world through, and the pillar of our reality crumbles, our idea about the world shatter and only the objective truth remains.
The Filters are Overstrained
The Filters are Overstrained
Yevheniya Fritsche born in 1986 in Sumy, Ukraine. She lives and works in Koblenz, Germany. Graduate Journalism and Linguistics at the University of Sumy, Ukraine, in 2008. In 2021, Yevheniya obtains her Master of Education in Visual Arts and English at the University of Koblenz. In 2010, as a student, Yevheniya Fritsche managed a social project, where under her direction students explored their environment and identity artistically reinventing the school premises of the Waldschule Montabaur – Horressen
Since 2013, Yevheniya has consistently taken part in local group exhibitions at her university, and the Gallery SEHR. In 2014, she was awarded ERASMUS grand and spent a Semester at the University of Sunderland, England, attending courses in Drawing BA. She also shares her knowledge in Art and English taking over extracurricular workshops with students at schools. Having witnessed the begun in the 90s, in Ukraine, political upheavals, cultural crisis, and disintegration of societal identity, transformation became central topic in Yevheniya’s works. She attempts re-evaluate the known cultural concepts and proof its validity. Thus Yevheniya Fritsche takes on religion, folklore, and human’s necessity to have faith in something, an urge to see the hidden. On the one hand, her works are characterised by a game of light and darkness, the state of fading and emerging, abstract, and concrete translating spiritual concepts directly. Probing material’s proclivities to alter its physical characteristics and the cycles of its constant metamorphosis, she searches an expression of these concepts in a material world. In this way, she invents a new meaning, reinventing the known and encountering the unknown and challenges the knowledge and the experience that makes up a humans’ way to perceive their environment and themselves. Sophisticated procedures that predominate in her artistic practice is strongly influenced by Max Ernst, Marcel Duchamp, Joseph Beuys and Sigmar Polke, and echo alchemical praxis, when alchemists tested the physical limits of matter to obtain gold. In the same way, she mixes various media and substances to achieve chemical reactions, and employs various surface transforming techniques as dripping, scrapping, washing off, incremental repetition to impel material to changes in form, volume, and colour. Her works conflate elements of painting and sculpture and give birth to patterns of mystical character.
2021 Fine Arts and English Studies (M.Ed.), the University of Koblenz, Koblenz, Germany
2021 Master Project in Sculpture supervised by Stefanie Brüning, the University of Koblenz, Koblenz, Germany
2016 Fine Arts and English Studies (B.Ed.), the University of Koblenz, Koblenz, Germany
2008 Translation (M.A.), the University of Sumy, Ukraine
2003 Translation / Journalism (B. A.), the University of Sumy, Ukraine
2014 ERASMUS Semester in Art and English, the University of Sunderland, England. Drawing (B.A c.)ourses
Social Art Projects/span>
2010 Design of school premises of the Waldschule Montabaur- Horressen, Montabaur, Germany
2021 Master show, “Autopoiesis” the University of Koblenz, Koblenz, Germany 2019 „Minimalisms“, Sculpture, Galerie „SEHR“, Koblenz, Germany 2019 „Apparition“ Sculpture, Artproject „MariaImpuls der Zeit“ of Maria Ebbers Foundation, Frankfurter „Haus am Dom“, Frankfurt am Main, Germany 2018 „Apparition”, Sculpture, Artproject „MariaImpuls der Zeit“ of Maria Ebbers Foundation, Museum historic town hall Warendorf, Warendorf, Germany 2017 Bachelor show, „Abstract Landscapes“ Painting,„Topography“ Sculpture, „Maps“ Graphicprint, the University of Koblenz, Koblenz, Germany 2017 „Game of Lines“ Sculpture, Three Kings‘ Hause, Koblenz, Germany 2013 „The Nose“ Sculpture, Künstlerhaus Metternich, Koblenz, Deutschland