LIUDMILA ANOSHENKOVA
LIUDMILA ANOSHENKOVA
Page Title
I do not consider myself a painter in a traditional sense. I am an artist who works with painting as a language that I constantly question and re-invent. It is a language I am not always confident in, and precisely for that reason it remains alive for me.
The canvas becomes a space of articulation where I can speak about the present without words, a space of freedom from external censorship, though not from my own doubts, decisions, and hesitation.
In a time saturated with digital images, control, and speed, painting allows me to work with uncertainty, slowness, and resistance. I am not interested in narrative, decoration, or visual pleasure. Instead, I approach painting as a site of presence, where loss of orientation, interruption, and instability remain visible. Each work emerges as an event rather than a representation, shaped through gesture, repetition, erasure, and pause.
Compared to other media, painting most directly reflects my position as an author through trace rather than statement: traces of action, color, and embodied thought. Meaning is not resolved but held open, allowing painting to exist as a fragile record of being present in the here and now.
Women don’t paint very well
160*120 cm.
2025-2026
Oil, acrylic, spray on canvas
Trace Under Pressure of Silence
29,7*40 cm.
2026
acrylic, spray on canvas
In the large painting, Women Don’t Paint Very Well, I work with vulnerability. I deliberately reduce the surface with white paint, covering areas that feel overloaded or too resolved. I try to show less and to resist the seduction of color and painterly pleasure. Although color and texture attract me deeply, I consciously hold them back. This reduction is an attempt to reset the language of painting in response to a digital environment where artists endlessly produce beautiful surfaces, textures, and interactions, turning painting into a continuous spectacle of attractiveness.
In the smaller work, Trace Under Pressure of Silence, I focus on the space of the canvas itself, leaving it intentionally porous and fragile. Here, vulnerability emerges through absence as much as through gesture. I again cover areas that appear too controlled or carefully composed, practicing a form of self-censorship. This act of withholding becomes a method: not to refine the image, but to keep the work open, unstable, and exposed.
For questions, proposals, or simply to say hello and respond to my work, I welcome communication via liudmila.anoshenkova@gmail.com
Communication is invaluable!
Liudmila