assemblage

«Here I am, pierced by the rays, marked with stamp of the sun and shadow. I live in reliable, dense thickets. My refuge is calling me. I pull my head in green leaves of its shoulders. In the forest, I get integrity. Everything is possible in my heart, as in the depths of the ravine».

Gaston Bachelard. «The Poetics of Space»

In painting art, there is a saying "to follow your hand," which means to start a painting with a brush movement, not an idea, and see where it will lead. The same method Bogomolova applies here – only let's call it "to follow your body". It emerges at the moment of frustration, from the awareness that it is impossible to establish a contact, completely mimic, move into a plant or stone.

Ilmira Bolotyan, art critic, artist, curator

The Daphne complex in the "Assemblage" is an attempt to escape towards non-human orders from the aggressive persistence of the surrounding hominids. It is a longing for non-oedipal forests, where Kassandra's neuroses hold no power.

Valentin Dyakonov, art critic, curator

However, success of this escape is not granted automatically. Anastasia is far from the optimism of experimenters who create hybrid families with lichens, ducks and electricity. The gender-neutral body in the photographs of the "Assemblage" serves not as a statement of binarity, but as a neurotic breakthrough into the times beyond gender and, as a result, beyond exploitation.

Valentin Dyakonov, art critic, curator

I prefer to reflect on this project not only in terms of its final "assemblage" result – crossbreeding, a merge of two realities — but as a catalog of observations, a new herbarium. I consider "Assemblage" as an arena of impersonal reality, a formula of a new, nontemporal and non-geographic physicality, where not the person, but the world "speaks" in a proud, albeit quiet, continuous, polyphonically-saturated and deep voice.

Olga Bubich, art critic, photographer, lecturer