![]() He employs a fine paintbrush to emulate the grain of the broadcast image the fuzzy reproduction quality of old video recordings informs the distinctive texture of his paintings surfaces and suggests that each scene is a pause between one frame, one recollection, one era, and the next. Trubkovich borrows imagery of many different originshistorical and contemporaryand reconstructs events from their depiction on TV, using the on-screen image as a metaphor for displacement. Drawing on both recorded history and the story of his familys 1990 emigration from the USSR to the United States, he marks the passage of time by alluding to the appearance of electronic media in decay. ![]() Through reference to antiquated technology, he investigates some of the ways in which personal and collective memories contradict one another, their gradual transformation complicating ideas of historical truth. In paintings, works on paper, and videos, Trubkovich employs recollection as his primary source material. Gagosian is presenting The Antepenultimate End, an exhibition of new paintings by Kon Trubkovich. House of the Rising Sun will be on show from 17 January until 14 February, 2015.NEW YORK, NY. As with the “Reagan” series, coupled with his previous works featuring his mother, the artist hopes that that the viewer can transcend the static and the noise of a foreign language and reach into their own conciousness, ultimately pulling something much more personal from it. He describes “I felt a kinship with this negation of language”. Those images are then manipulated in the computer and repainted on canvas.” The show also features a five-channel film called “House of the Rising Sun,” a project sparked by Trubkovich’s ongoing interest in searching for footage online – on this occasion, Russian speakers singing American songs. The paintings are made by, Trubkovich explains “pausing various VCRs and photographing the television screen. In Trubkovich’s latest exhibition at L.A’s OHWOW Gallery, the artist has created six new pieces of work – part of his “Reagan” series – from footage re-appropriated from the ex-President’s 1987 Brandenburg Gate speech where he asked Soviet Union leader Mikhail Gorbachev to tear down the Berlin Wall. For now, I see the films I make as sculptures.” I am sure that as my intentions shift with time I will begin to film again. That is what I am looking for right now, so it does not make sense to film my own. The footage is then tranferred onto 35mm film, on which Trubovich makes markings on the celluloid itself “That connected the films to my painting practice in a way that was not there before.” Explaining this process in more detail, he says, “I really like the authenticity and a kind of intimate texture of it. It made me very aware of the nature of memory.” That awareness has – for over a decade – posited itself in an almost-obsessive act of collating found footage taken from the internet alongside his own candid home movies – “in order to mine a way into the elusive nature of memory”. ![]() I think that this event in my life influences a lot of the work that I make now. ![]() Russian-born artist Kon Trubkovich attributes the influence behind his artworks not to his native upbringing but instead to the immigration process he went through when he was just a child – moving to America from the USSR in 1990, at just 11 years old “That immigration obviously made a huge impact on me – more than my Russian background. ![]()
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