Marina’s project delves into the relationship between the conscious and unconscious, the real and the dream. By exploring the Jungian concept of sleep as a gateway to the unconscious, the artist offers a glimpse into the hidden aspects of the self in our fast-paced, technolo- gically-driven world. Marina’s art seeks to explore the complex experience of perceiving reality through the metaphor of sleep and dreaming. This experience is unique and deeply personal, and cannot be fully shared with others. When we fall asleep, we become a kind of object in ourselves – a “thing in itself” in Kantian terms – existing simultaneously as both an object and a medium. Our subconscious mind is a vast and seemingly limitless archive of data, and our perceptions of reality are shaped and limited by our physical bodies, our knowledge, and our capacity for sensory experience. In this way, Marina’s art invites us to reflect on the complex interplay between our inner world and the external reality we perceive. It asks us to consider how our perceptions of the world are shaped by our individual experiences and limitations, and how we can begin to unravel the mysteries of our own consciousness to gain a deeper understanding of the world around us. Marina’s art captures the elusive picture-image of the subconscious, using projections as metaphors for the imperfect and fragmented nature of human perception. These “poor” picture-images have passed through the filters of perception and are subject to errors and glitches. As we accumulate more experiences, our perception becomes more complex. Self-awareness is a palimpsest, it grows into myths about itself. In her work Marina uses personal archives, collected images, and various objects to create a sense of peeking into the subconscious. She combines paintings, videos, and projections in a cyclical and repetitive process, creating multidimensional compositions. This technique allows her to express the complex mechanism of self-perception and reflects a rhythmic ritualism of connecting the internal and external worlds. Marina’s art gives form to fragmentary and elusive subconscious images. These images are like quick and looping running line of human thought, impossible to objectify or fix as a whole. The only way to express it is through a passionate and obsessed, dadaist manner. The recurring theme in Marina’s work is the COMEBACK INN hotel as a meta-structure of the subconscious. A place where dreams accumulate and where dreamer seek to reconnect with the self. It embodies the fluidity of human existence, representing both a desired destination and a place of discomfort which is unbearable to stay for a long time. Marina’s protagonists seek to tune themselves with the mechanism of the hotel, accepting the impermanence of life and to break free from self-imposed traps of existential anxiety.
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Marina’s project delves into the relationship between the conscious and unconscious, the real and the dream. By exploring the Jungian concept of sleep as a gateway to the unconscious, the artist offers a glimpse into the hidden aspects of the self in our fast-paced, technolo- gically-driven world. Marina’s art seeks to explore the complex experience of perceiving reality through the metaphor of sleep and dreaming. This experience is unique and deeply personal, and cannot be fully shared with others. When we fall asleep, we become a kind of object in ourselves – a “thing in itself” in Kantian terms – existing simultaneously as both an object and a medium. Our subconscious mind is a vast and seemingly limitless archive of data, and our perceptions of reality are shaped and limited by our physical bodies, our knowledge, and our capacity for sensory experience. In this way, Marina’s art invites us to reflect on the complex interplay between our inner world and the external reality we perceive. It asks us to consider how our perceptions of the world are shaped by our individual experiences and limitations, and how we can begin to unravel the mysteries of our own consciousness to gain a deeper understanding of the world around us. Marina’s art captures the elusive picture-image of the subconscious, using projections as metaphors for the imperfect and fragmented nature of human perception. These “poor” picture-images have passed through the filters of perception and are subject to errors and glitches. As we accumulate more experiences, our perception becomes more complex. Self-awareness is a palimpsest, it grows into myths about itself. In her work Marina uses personal archives, collected images, and various objects to create a sense of peeking into the subconscious. She combines paintings, videos, and projections in a cyclical and repetitive process, creating multidimensional compositions. This technique allows her to express the complex mechanism of self-perception and reflects a rhythmic ritualism of connecting the internal and external worlds. Marina’s art gives form to fragmentary and elusive subconscious images. These images are like quick and looping running line of human thought, impossible to objectify or fix as a whole. The only way to express it is through a passionate and obsessed, dadaist manner. The recurring theme in Marina’s work is the COMEBACK INN hotel as a meta-structure of the subconscious. A place where dreams accumulate and where dreamer seek to reconnect with the self. It embodies the fluidity of human existence, representing both a desired destination and a place of discomfort which is unbearable to stay for a long time. Marina’s protagonists seek to tune themselves with the mechanism of the hotel, accepting the impermanence of life and to break free from self-imposed traps of existential anxiety.
