In Maria Kapaeva’s artistic practice found objects have played an important role, as objects that have been deemed worthless or neglected by someone allow analysis of existing values and norms, and direct attention to abandonment and marginalization as political practices. While working at Narva Art Residency, the artist discovered these old photo posters of the textile factory in the cellar that were originally meant to celebrate the people and the machines. As soon as the artist had taken these posters into use, an unexpected change took place in the status of the objects that had until then gathered moisture and dust in the cellar: people started to recommend the artist to hand them over to the museum as historical objects. Applying to these panels from the 1980s a method of decollage common in her art practice, Kapajeva refers to unemployment as deprivation from the collective and social belonging. The figures of the workers cut out from the picture are painted after grey-white squares of the Photoshop desktop, bringing also to mind the juxtaposition of analogue and digital techniques common in Kapajeva’s work.
5 pieces. 100x120cm each. fibre-based photos. collaged and hand-painted.