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120x100 cm., canvas, acrylic, 2021
Inventory Number is a painting - an echo of a bygone world, a symbol of the lost. This painting was deliberately sacrificed to the fire, becoming a meditation on the ghosts of the past to which we assign names and numbers. The inventory number marked on the painting carries a hidden meaning. Perhaps someone will manage to unravel its secret, but I prefer to leave this enigma unanswered.
Under heaven
"The Heritage"
The "Heritage" ("Spadchina") project is a substantive reflection of the Belarusian everyday
life. Belarus doesn’t pay proper attention to the preservation of monuments of historical and cultural
heritage, and buildings having historical value are gradually being destroyed. Architectural
monuments are the cultural heritage of cities and their inhabitants; at present, historical buildings
are replaced by modern typical structures. Therefore, preserving the historical and cultural heritage
is a problem of special urgency and significance.
In pursuit of rampant consumption, we destroy inherited strong houses, throw away solid
furniture and household utensils emptying grandmother's chests; at the same time we strive to surround
ourselves with Chinese things replacing valuable items with cheap "run-of-the-mill" goods.
A consumer society is a massive consumption of material goods and the formation of an appropriate
system of values and attitudes. Moreover, more than half of the purchases we make are
not a vital necessity for us. The society is forced on with the idea that the possibility of acquiring
various "convenient and beautiful things" is the norm.
Each person has a great responsibility for the choice that he/she makes, what deeds, things
and thoughts he/she fills in his/her life with; what things and deeds he/she values. After all, our
daily choice in favour of certain things forms the choice of a society, nation and a generation. Our
daily choices are directly related to the preservation of our heritage.
The name of the project is written in Latin letters. Thus, due to a word-play there is the
word "China" in "Spadchina".
A white and gleaming painting that mimics a porcelain surface. It captures the gaze with its unusual central feature—a human navel. This element symbolizes a profound reflection on the purity and intimacy of human nature.
canvas, acrylic. 90×70 cm. 2020
Humanity fully believes in plastic. The work "Plastictheism" is devoted to the stupidity of people whose reckless use of disposable plastics has led to a global crisis with plastic garbage. With this work, I want to draw people’s attention to the global environmental problem of plastic consumption and recycling as well as to encourage everyone to take responsibility and stop using disposable plastics: utensils, bags, and bottles.
The pursuit of the possession of fashion brands for most of society in the world has become the highest goal of activity, aspirations, have become a moral ideal. This choice determines our culture today.
Nature is generous; it grants us life, fills our souls, and inspires us with its complexity and beauty.
By utilizing its gifts, we create our own "luxurious" world. We destroy animals, entire populations and species; we use chemical substances in agriculture, poisoning the land that feeds us; we pollute the waters; we mine minerals in unlimited quantities; we release industrial waste directly into the air we breathe. We draw and draw from the earth's resources, taking only, giving nothing in return.
The time has come to take responsibility for every action, to curb our appetites, to give back what is due, to learn how to create our world without destruction. It is necessary to gather all wisdom and emotions to build harmonious relationships with nature.
Architectural monuments are the cultural heritage of cities, and currently, they are being overshadowed by the ideals of mass culture. The issue of their preservation is relevant today.
Cultural heritage is one of the main ways in which culture exists, and preserving it is tantamount to preserving culture as a whole. Culture is memory, therefore it is always connected with history.
In my work, I transformed an old piece of foundation masonry into gold and set it in an elegant Baroque frame. Through these artistic means, I want to highlight the true value of the "old".
РЫМ ЭПОХІ ЗАНЯПАДУ
Стан разбурэння, развалу, распаду, што перажывае якая-небудзь галіна культуры, грамадзкага жыцця.
MY ARTIST STATEMENT
Transforming Pain into Triumph Through Art.
My paintings become narratives where the body of the painting is perceived as a living entity, adorned with wounds and scars, depicted with realistic truthfulness.
Blood, as the material evidence of a wound, is always visible, while healing is a process, but is it ever possible? Could the wounded subject avoid the trauma? In my context, this refers to individuals forced to leave their homes and endure separation.
The post-traumatic universe in my works is dedicated to the surviving subjects: all these traces on the body of the painting are not the end; they are the acknowledgment of a new birth in separation.
They are, first and foremost, about the wounded and displaced identities. A wound does not destroy the subject and does not kill. It makes the subject alive: potentially more alive and self-aware than before.
My artistic representation, reminiscent of a nurse, embodies attention, care, and healing. An image present alongside those seeking consolation and possibly healing in art. Someone who mediates between the wounds, the wounded subjects, and third-party observers.
The paintings as a place of “non-enjoyment,” sincere speech without dominance, where the wounds of the addressee are acknowledged. Recognizing the traces of unsymbolized, unbearable trauma guides the subject. They are wounded but alive. Just like Belarus.
My art doesn't just exist; it breathes, it tells stories, it awakens.
My projects are aimed at the development and preservation of cultural heritage, the expansion and nurturing of ethics, trust, empathy, and humanity. I believe that through our creativity and self-expression, we can inspire change and honor the victims of injustice.
ABOUT ME
Darya Siamchuk, 33 years old, born in Grodno, Belarus.
“Cemra" means darkness in Belarusian. In my art, I explore the dark and painful aspects of human nature. My goal is to confront the traumas of our time and find the appropriate artistic language to express them.
Solo exhibitions
2023 – LAZARET, Beseder Gallery, Prague, Czech Republic
2023 – LAZARET, Museum of Free Belarus, Warsaw, Poland
2021 – AESTHETIC PAIN, A&V Art Gallery, Minsk, Belarus
2020 – CEMRA, Art-Belarus Gallery, Minsk, Belarus
Group exhibitions
2023 – Charity Auction for the Humanosh Foundation, Exhibition of works by Belarusian, Ukrainian, and Polish artists, Piękna Gallery, Warsaw, Poland
2023 – Where am I. Exhibition of contemporary Belarusian art, Montenegro European Art Community Gallery, Budva, Montenegro
2023 – Who Owns the Land: Art as agent of expression conflict, statelessness, diaspora, coloniality, THE PINNA Gallery, exhibition online, London, England
2021 – The Autumn Salon, National gallery Palace of Arts, Minsk, Belarus
2020 – Art-Minsk the international art festival, National gallery Palace of Arts, Minsk, Belarus
2019 – The Autumn Salon, National gallery Palace of Arts, Minsk, Belarus
2019 – Triennial of Young Artists, National gallery Palace of Arts, Minsk, Belarus