The purpose of this public sculpture is to stimulate the recycling of materials and raise awareness of the pollution of water and nature in general, which depend primarily on each of us. 
This work is designed to excite the essence of man - the water of which he consists of 60%. The physical experience of the deep colour is intended to communicate with each individual. The viewer will be blocked by a wave from his usual way in order to stop and think. To think about the purity and beauty of nature and our ability to recreate both.
Place of production and exposition: shopping mall (big open space under the roof, preferably natural light)
Materials: wood, cardboard, hardboard, paper for recycling (scavenge) and paints, colours 
Dimensions: 12/15 meters long, 3/4 metres high, up to 2 m. width.

Water

The path to understanding art is the soul of the viewer. If you see a play of colour, then it is so. If you see a sunset and mountains covered with sunlight - it is. If you feel that the work is endowed with thoughts and discussions about the colour - this is so. Or is it the captured time that the artist spent with this material, adapting every element to perfection - it's true. Everything is true as far as life can be.


Untitled (blue and orange)

This is one of the main phrases of my culture. And what is most interesting, somehow it does not get better. As you get older, you just keep repeating what you've been taught. Everything will be fine! - hope for a miracle, better health, great relationships, the happiness of parents, a successful job, a prosperous democratic state, light at the end of the tunnel, after all. But the reality remains different. It will be better only when accepting things as they are, or seeing the value of this dark part of life.

Все будет хорошо!   (Vse budet khorosho! rus. For Everything will be fine!)

"How to depict the passage of time?
Perhaps it is the physical presence of the viewer in front of the work of art? A moment when you look at colour and details and then you seem to fall into these colourful wholes.
Is it a picture of a sunrise or sunset? It's like a colour change: when the lighting in the room changes, the artwork changes too."


There will be a new day

For me, the feeling of my own colour is a reflection from the others. This sensation can be caught after a conversation, hugs or other communication with a person. Like a mirror, man will reflect our essence.

Self-portrait

Sprout

I am interested in the materiality of this world and its connection to colour. I think that the physical existence of a person and his creations determine life itself. Then where are these limits of materiality? How does the working process connect with the material? And why we create what we create? Can our feelings or thoughts be material or not? 
From childhood, I experienced strong emotions always combined with colour impressions. Sensations were so strong that I had to recreate the colour of this inner experience, and that’s when I started to paint. The feeling of this colour is real and tangible so that my material body becomes a colour. It is called synaesthesia. Thus, I began to think that through the colour my feelings and thoughts become material because I experience it as I experience any part of my body. In the same way, through colour on the paper, we convey information. This how I combined paper and paint. 
The whole process of creating art has become a miniature of life itself for me. It is the translation of emotions and thoughts into the material. And this translation is always accompanied by colour.


Energy

I am interested in the materiality of this world and its connection to colour. I think that the physical existence of a person and his creations determine life itself. Then where are these limits of materiality? How does the working process connect with the material? And why we create what we create? Can our feelings or thoughts be material or not? 
Work discusses the transition of immaterial concepts into physical forms.
My volumetric pictorial colour works are not flat as in the paintings or screens and not only three-dimensional as in sculptures. They are in time-space. Time represented through the distance between the beginning of the colour and its depth. Also when passing artwork by one can experience time flow, plunge into this pulsating blue and become a part of it. Get stuck in the gaps of colour, breathe through colour, and change with this experience, as this colour field alters with different light.

Dream

From childhood, I experienced strong emotions always combined with colour impressions. Sensations were so strong that I had to recreate the colour of this inner experience, and that’s when I started to paint. The feeling of this colour is real and tangible so that my material body becomes a colour. It is called synaesthesia. Thus, I began to think that through the colour my feelings and thoughts become material because I experience it as I experience any part of my body. In the same way, through colour on the paper, we convey information. This how I combined paper and paint.
“Homeland” (Родина ‘Rodina’ in Russian) is the place where I was born and raised. My parents and sister live there, whom I have not seen for a year and a half because of the pandemic. I didn't hug my mother. I did not feel the beating of her heart and her light red, warm colour.
The presented work is about Moscow. This triptych (a reference to the Russian icons) is my physical experience of the place. It is a complex and rich colour that combines the experience of the past and the breath of today. So a person passing by can plunge into this pulsating red and become a part of it. This is the possibility to perceive something through a complex experience of colour, space and time.

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Marina WitteMann

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