Open: Daily from 11 am till 8 pm

​

At first glance, everything is clear in the works of Tamara Turlyun. The artist uses rather limited, stingy tools. Red paint, close to red ocher, one of the basic pigments from ancient times of painting. The whitish and rough white background is like a simple lime plaster. Smooth generalized outlines, large strokes. There is no perspective and strict composition. Characters and details are located freely, if not chaotically. But, at the same time, they are a little cramped: the rough bodies are barely pressed into the surface of the sheets of rough paper glued together. The eye casually completes the action planned by the artist outside the paper, on the walls. In fact, Turlyun's works are closer to murals than to easel paintings. Paper as a basis is issued as a temporary technical solution. The series also refers to the tradition of monumental art of the twentieth century with its attraction to massive, conditionally stylized forms. But also to the ancient Indian temple frescoes with their ornamentation and eroticism. We will add here ridiculous texts that wrap the umbilical cord around the heroes and only confuse possible interpretations of what "Turlyun wanted to tell us" in this exhibition.