ART WORKS
MADONNA 3.0
2020
PARAMETRIC SYMBOLOGRAPHY
RECYCLED PLASTIC, RESIN, SILICON 150 x 150 cm
SINGLE INSTANCE
The artistic plot of PRANNA’s artworks is based on symbols. The woman on the painting symbolizes the world of XXI century, while the larva in her arms is the future world. The snake, whose skin is made of dollars, is thrown around Madonna's neck like a noose. Mickey Mouse’s hand on the snake is the logical allegory of capitalistic society, which is driven by products of informational egregors. Black hat of a catholic nun is a direct anonymous of white, which is the symbol of commitment to the Catholic faith of a progressive society, but it is obsolete as a phenomenon in the XXI century.
LUCK WITH A FRIEND
2020
PARAMETRIC SYMBOLOGRAPHY
RECYCLED PLASTIC, RESIN, SILICON 150 x 150 cm
SINGLE INSTANCE
Skyline. Money and power (PRANNA’s characters) are sitting on the top steps of the social pyramid. The artist interprets them as fortune and freedom. Who is their aim?
VENUS WITH ANGELS
2020
PARAMETRIC SYMBOLOGRAPHY
RECYCLED PLASTIC, RESIN, SILICON 150 x 150 cm
SINGLE INSTANCE
Goddess of beauty and success of the XXI century. What’s she like when she is surrounded by angels?
APPLE OF KNOWLEDGE
2020
PARAMETRIC SYMBOLOGRAPHY
RECYCLED PLASTIC, RESIN, SILICON 150 x 150 cm
SINGLE INSTANCE
On the background of metaphorically depicted trends of our time, you can see two human beings, whose necks are entwined by money-snakes. Their greedy behavior is the symbol of competitiveness, which is the key engine of capitalist society. PRANNA managed to interpret Biblical story in the modern context, where IT-corporations supply us with the main temptation of consciousness – with information.
SOCIAL DISTANCE. OFFER #2
2020
PARAMETRIC SYMBOLOGRAPHY
RECYCLED PLASTIC, RESIN, SILICON 150 x 150 cm
SINGLE INSTANCE
Series of works “Social distance “ consists of 4 artworks. The process of the work on the paintings started before the COVID-19 pandemic, mass isolation and protests in USA. All artworks are made from recycled plastic in parametric symbolography technique (images containing many layers and symbols). What is social distance? How is it different from physical distance? Who is on the top of social hierarchy? Is he friend or enemy for those who are at the lower positions? Are all lives of equal importance in the time of proclaimed humanism? What are the rules of social distance? Who does install and regulate them? The viewer will be inspired by PRANNA’s artworks to think critically about these issues.
SOCIAL DISTANCE. OFFER #1
2020
PARAMETRIC SYMBOLOGRAPHY
RECYCLED PLASTIC, RESIN, SILICON 150 x 150 cm
SINGLE INSTANCE
Series of works “Social distance “ consists of 4 artworks. The process of the work on the paintings started before the COVID-19 pandemic, mass isolation and protests in USA. All artworks are made from recycled plastic in parametric symbolography technique (images containing many layers and symbols). What is social distance? How is it different from physical distance? Who is on the top of social hierarchy? Is he friend or enemy for those who are at the lower positions? Are all lives of equal importance in the time of proclaimed humanism? What are the rules of social distance? Who does install and regulate them? The viewer will be inspired by PRANNA’s artworks to think critically about these issues.
SOCIAL DISTANCE. OFFER #3
2020
PARAMETRIC SYMBOLOGRAPHY
RECYCLED PLASTIC, RESIN, SILICON 150 x 150 cm
SINGLE INSTANCE
Series of works “Social distance “ consists of 4 artworks. The process of the work on the paintings started before the COVID-19 pandemic, mass isolation and protests in USA. All artworks are made from recycled plastic in parametric symbolography technique (images containing many layers and symbols). What is social distance? How is it different from physical distance? Who is on the top of social hierarchy? Is he friend or enemy for those who are at the lower positions? Are all lives of equal importance in the time of proclaimed humanism? What are the rules of social distance? Who does install and regulate them? The viewer will be inspired by PRANNA’s artworks to think critically about these issues.
SOCIAL DISTANCE. OFFER #4
2020
PARAMETRIC SYMBOLOGRAPHY
RECYCLED PLASTIC, RESIN, SILICON 150 x 150 cm
SINGLE INSTANCE
Series of works “Social distance “ consists of 4 artworks. The process of the work on the paintings started before the COVID-19 pandemic, mass isolation and protests in USA. All artworks are made from recycled plastic in parametric symbolography technique (images containing many layers and symbols). What is social distance? How is it different from physical distance? Who is on the top of social hierarchy? Is he friend or enemy for those who are at the lower positions? Are all lives of equal importance in the time of proclaimed humanism? What are the rules of social distance? Who does install and regulate them? The viewer will be inspired by PRANNA’s artworks to think critically about these issues.
REINCARNATION
2020
PARAMETRIC SYMBOLOGRAPHY
RECYCLED PLASTIC, RESIN, SILICON 140 x 160 cm
SINGLE INSTANCE
What is inside of you? What is inside of me? What is inside of each human being? What is waiting out there? What's the rule of the game?
APOLLO
2020
PARAMETRIC SYMBOLOGRAPHY
RECYCLED PLASTIC, RESIN, SILICON 140 x 160 cm
TWO UNIQUE INSTANCES
A masterpiece inspired by wonderful Tyrone Dylan.
GENERATION
2020
PARAMETRIC SYMBOLOGRAPHY
PLASTIC, RESIN, SILICON 140 x 140 cm
SINGLE INSTANCE
A person as a representative of a kind in itself, that is, a kind of people, transfers the method of organizing one’s own microworld to the organization of everything that surrounds him and that forms an integral part of his life. This is manifested, for example, in the fact that he sees a logical relationship between the fact that some generations are replaced by others and the fact that later on, he not only brings something unique, modern, to the world, but also inherits something from the previous one.
Agree that this statement applies both to a person and his family, and, say, to smartphones or computers. It also applies to art: researchers of art and art critics seek to find a relationship between new trends in the art world, seek to derive their origins from what existed and prevailed in art before. A certain dualism is manifested here: on the one hand, we are faced with the fact that each direction manifests itself through new artistic means, and on the other hand, inherits the values and goals of the previous generation - regardless of the means of expression, it is focused on the person and his spiritual enrichment.
Installation figures decrease as you move away from the viewer, approach the center of the work, and then completely dissolve. This is how the transmission of social attitudes can be visualized, this is how culture moves in its development, and this is how generations change, no matter in what area of people's lives it takes place.
GLACIERS
2020
PARAMETRIC SYMBOLOGRAPHY
PLASTIC, RESIN, SILICON 140 x 140 cm
SINGLE INSTANCE
Each person stands on his own glacier. The world is chaotic, and therefore the ice floes are depicted chaotic, they are unique.
The truth is that ice floes are the inner world of a person who has its borders. Of course, the 21st century marked a change in the mentality of people, and this change became common for the entire developed population of the planet: it is impossible to imagine life without a constant stream of information and without direct participation in this stream. But the problem of a society immersed in an excess of information field, on the idleness of life, is the loneliness of each individual person who overcomes him, despite constant interaction with other people.
Life in excess of information is endless cultural trends: the desire to get as many likes as possible, to find out the latest news and gossip - that is, to get enough of relevant information, to be on the lookout for pills from all problems - this, of course, affects people's lives and their perception of themselves.
The faces of the figures are turned to the viewer, and this is done for a reason: contact with everything that is outside the space of the picture is an expectation of approval or condemnation of a lifestyle oriented to third-party, coming and going things, to “information garbage”, or, at least, this is a call to comprehend your own life in an era of information excess.
SABAZUIS HAND IN BLACK
2020
PARAMETRIC SYMBOLOGRAPHY
CAST MARBLE, 70 cm
20 INSTANCES
The sculpture reflects the pyramid of needs of the 21st century. The lower level is expressed by all kinds of pleasures: this is an introduction to mass culture through the purchase of a bottle of Coca-Cola, and the desire to stay in the information stream, which is symbolized by headphones as an attribute of world perception. The barcode printed on the thumb is also a sign of the consumer society, as is the amoeba, referring to the trend of simplification of processes that dominates everything.
The level above is the level at which a person begins to think about global problems, he takes care of nature. The author of the sculpture is ironic: that which is hidden behind bright slogans and that supposedly testifies to the serious intentions of people in protecting the environment is petty in real life. Ideology is becoming a way to achieve commercial interests. A man clings tightly to a gas mask thrown across the membrane between his fingers - as if the gas mask could save him.
The serpent, towering over several tiers of the pyramid of needs, is associated with a religious principle, which is also expressed in the position of the fingers: the thumb, index and middle finger are straightened, and the other two are bent. This gesture among people of different historical eras had a single meaning, it correlated with a person who turned to God, only modern people often profess religion, as if playing.
Exploring the pyramid of needs, the viewer should notice a laurel wreath. The author of the sculpture does not associate him with Greece and its heritage, but with vanity and glory as such. This laurel wreath is not the size of Sabazis' hand.
At the top of Maslow’s pyramid, there is a Hoah Airlines aircraft - this is a private superjet, the modern Noah's Ark, not everyone can board it.
The sculpture harmoniously combines religious and technological-everyday symbols. Modern society, turned to scientific progress, self-sufficiency and life for show, is changing its moral state. Man always faces a choice
- but how to understand what is right and what is not, if the virtual and the real, the spiritual and the material are mixed up - there is a trend in the minds of people aimed at abandoning the original meanings and replacing concepts as such.
SABAZIUS HAND IN METAL
2020
PARAMETRIC SYMBOLOGRAPHY
CAST MARBLE, 70 cm
SINGLE INSTANCE
The sculpture reflects the pyramid of needs of the 21st century. The lower level is expressed by all kinds of pleasures: this is an introduction to mass culture through the purchase of a bottle of Coca-Cola, and the desire to stay in the information stream, which is symbolized by headphones as an attribute of world perception. The barcode printed on the thumb is also a sign of the consumer society, as is the amoeba, referring to the trend of simplification of processes that dominates everything.
The level above is the level at which a person begins to think about global problems, he takes care of nature. The author of the sculpture is ironic: that which is hidden behind bright slogans and that supposedly testifies to the serious intentions of people in protecting the environment is petty in real life. Ideology is becoming a way to achieve commercial interests. A man clings tightly to a gas mask thrown across the membrane between his fingers - as if the gas mask could save him.
The serpent, towering over several tiers of the pyramid of needs, is associated with a religious principle, which is also expressed in the position of the fingers: the thumb, index and middle finger are straightened, and the other two are bent. This gesture among people of different historical eras had a single meaning, it correlated with a person who turned to God, only modern people often profess religion, as if playing.
Exploring the pyramid of needs, the viewer should notice a laurel wreath. The author of the sculpture does not associate him with Greece and its heritage, but with vanity and glory as such. This laurel wreath is not the size of Sabazis' hand.
At the top of Maslow’s pyramid, there is a Hoah Airlines aircraft - this is a private superjet, the modern Noah's Ark, not everyone can board it.
The sculpture harmoniously combines religious and technological-everyday symbols. Modern society, turned to scientific progress, self-sufficiency and life for show, is changing its moral state. Man always faces a choice
- but how to understand what is right and what is not, if the virtual and the real, the spiritual and the material are mixed up - there is a trend in the minds of people aimed at abandoning the original meanings and replacing concepts as such.
SABAZIUS HAND IN WHITE
2019
PARAMETRIC SYMBOLOGRAPHY
CAST MARBLE, 70 cm
20 INSTANCES
The sculpture reflects the pyramid of needs of the 21st century. The lower level is expressed by all kinds of pleasures: this is an introduction to mass culture through the purchase of a bottle of Coca-Cola, and the desire to stay in the information stream, which is symbolized by headphones as an attribute of world perception. The barcode printed on the thumb is also a sign of the consumer society, as is the amoeba, referring to the trend of simplification of processes that dominates everything.
The level above is the level at which a person begins to think about global problems, he takes care of nature. The author of the sculpture is ironic: that which is hidden behind bright slogans and that supposedly testifies to the serious intentions of people in protecting the environment is petty in real life. Ideology is becoming a way to achieve commercial interests. A man clings tightly to a gas mask thrown across the membrane between his fingers - as if the gas mask could save him.
The serpent, towering over several tiers of the pyramid of needs, is associated with a religious principle, which is also expressed in the position of the fingers: the thumb, index and middle finger are straightened, and the other two are bent. This gesture among people of different historical eras had a single meaning, it correlated with a person who turned to God, only modern people often profess religion, as if playing.
Exploring the pyramid of needs, the viewer should notice a laurel wreath. The author of the sculpture does not associate him with Greece and its heritage, but with vanity and glory as such. This laurel wreath is not the size of Sabazis' hand.
At the top of Maslow’s pyramid, there is a Hoah Airlines aircraft - this is a private superjet, the modern Noah's Ark, not everyone can board it.
The sculpture harmoniously combines religious and technological-everyday symbols. Modern society, turned to scientific progress, self-sufficiency and life for show, is changing its moral state. Man always faces a choice
- but how to understand what is right and what is not, if the virtual and the real, the spiritual and the material are mixed up - there is a trend in the minds of people aimed at abandoning the original meanings and replacing concepts as such.
2019
PLASTIC, RESIN, SILICON 140 x 140 cm
ONE PIECE
19.000$
GENERATION OF COVID
2020
PARAMETRIC SYMBOLOGRAPHY
140 cm, plastic, resin
1 instance, 2020
SINGLE INSTANCE
Recognizable heroes in the form of depersonalized anthropomorphic creatures appear in all works of PRANNA in the form of characters of art objects, and actors of performance. The images created by the artist embody several ideas at the same time: in her works, the artist purposely removes the drama of a particular person, highlighting social issues. Second, in her art, PRANNA tries to operate with symbols and archetypes to convey ideas that are free of geographical, gender, ethnic, religious, political subjectivity and leaves the essence: the human principle is common and one in each. The COVID GENERATION art object reveals the idea of mankind and people who, regardless of their gender, age, education and nationality, all face the global catastrophe and transformation. What will happen to society? What will happen to each of us? What future awaits humanity in the era of controlled information flows and global political games?
GRAVITY
2020
PARAMETRIC SYMBOLOGRAPHY
140 cm, plastic, resin
SINGLE INSTANCE
We live in an era of rapid acceleration of processes, information flows which replace each other with increasing speed, disorienting unstable consciousness, unprepared to consume and convert such a volume of conflicting information and navigate it. The skill of filtering the essence of human society is need to be developed.
Gravity painting is a composition of anthropomorphic creatures in zero gravity or fall. Due to the mirror coating on the surface of the characters, everyone who looks at the picture is reflected. The artist placed characters with a space of semantic codes that fill the information field of our days. In a whirlwind of pills that promise healing from all ailments and a new life, there are a gas mask, a plastic bag with oxygen and water. Perhaps soon these items will become more valuable than gold.
WHITE FLAG REVOLUTION
2020
PARAMETRIC SYMBOLOGRAPHY
140 cm, plastic, resin
SINGLE INSTANCE
Along with the proclaimed ideology of humanism, globalization leaves its mark on the quality of human life in a progressive 21st century society. Locally, the level of comfort, medicine and safety is rising, while the control and pressure of the system, the pressure of the information field, the zeroing of cultural and ethnicity, and the loss of communication between generations are increasing. Patterns of behavior, goals, roles, tastes, meanings created and actively determine our choice for us. The trend to abandon the rules, obsolete morality and foundations of the past which has been developing for the past hundred years and seems to be reaching its limit today, because destruction isn’t the same as building a new one. New generations received unlimited access to information, as well as the opportunity to choose a social role and behavior model in it, abandoning the traditions and ethics of their predecessors. However, in the absence of a unified system of values, it is impossible to talk about civil society and common goals. What are we fighting for today? Perhaps we are simply swimming with the flow of information flows that we haven't created, and not even chosen by us? Do we have common goals? Where are we going? PRANNA asks these questions through the art object REVOLUTION OF WHITE FLAGS.
A CHILD OF HUMANITY
2020
PARAMETRIC SYMBOLOGRAPHY
PLASTIC, RESIN, SILICON 140 x 140 cm
SINGLE INSTANCE
Society is continuously moving in its development. They say, before it becomes clear what significance the facts of everyday life have, about half a century must pass - and there is no difference, they relate to the historical, socio-political, cultural or other sphere of human life. And therefore it is necessary to raise the question in time: what will we, humanity as such, leave behind?
Almost a century ago, Marcel Duchamp made a revolution in the perception of art. He showed that the object for the work can not only be created, but also chosen, while you can choose anywhere. This was a breakthrough and at the same time marked the rejection of the canons established a long time ago - the broken head of Apollo, depicted in the picture, is a symbol of trampled traditions. If we turn to contemporary art and begin to analyze what is happening in it, then, most likely, we immediately recall the story of a banana glued with adhesive tape to the wall. Cattelan, the author of this installation, attempted to repeat what Duchamp once did. Pranna is ironic using these signs, because it is impossible to “stick” to a world event without having her own unique idea.
Modern society, according to Pranna, is a “bitten apple” society. This symbol, found in many other works of the artist, refers the viewer to the biblical plot of tasting the fruit of the Tree of Knowledge of Good and Evil. Modern man, like Adam and Eve, is tempted, moreover, he entered the era of conscious temptation. With necessity, the question arises: what now to do?
Information redundancy and freedom of choice determined the socially significant vector of development of society. Dreams of the invention of the pill - NEW | DNA is a dream of an easy way to solve all problems, as well as the ability to intervene in the laws of nature. Now you can literally change everything: gender, orientation, citizenship - this is a trend caused by the emancipation of morals and freedom in action.
But only among the infinite possibilities does a person as such need to think and decide what he as a representative of humanity will leave behind?
DAVID AND VENUS
2019
PARAMETRIC SYMBOLOGRAPHY
PLASTIC, RESIN, SILICON 140 x 140 cm
SINGLE INSTANCE
LIKE SNOW
2019
PARAMETRIC SYMBOLOGRAPHY
PLASTIC, RESIN, SILICON
SINGLE INSTANCE
The picture depicts people: faceless, cold, alienated. The work expresses the main conflict ringing in the air of our world: the desire for closeness with apparent alienation and renunciation of it.
People lined up in the foreground go to the sky. Or come from sky like snow? The viewer has the right to answer this question independently. The painting was made in a genre of sarcastic dystopia, which is truly rare for painting and embodied in atypical artistic means today. A collective faceless portrait of the era of interactivity: we come to this world, dissolve in affairs, running around and the "extraordinary" virtual, ideal space, first spiritually, and then disappear physically.
PRANNA works with plastic - the most durable material from existing. So, dissolving, like snow, we still do not leave to the end, defeating our own lives. Or is it a poisonous mockery of trends that do not lead to real change?
TIME TO LOVE
2019
PARAMETRIC SYMBOLOGRAPHY
PLASTIC, RESIN, SILICON 140 x 140 cm
SINGLE INSTANCE
At first, you might think that the presented work is a bas-relief made of marble. Take a closer look: the vibrant color, its gradation and the material itself very much resemble this Aphrodite mineral. The ancient Greeks believed that the energy of marble strengthens love and fidelity.
These feelings, so close to each of us, are completely unfamiliar to the machine. Then why is a heart made of iron depicted? And the work is actually not marble at all, but made of plastic and resin.
With such semantic paradoxes concluded in each work, PRANNA introduces the viewer into a dead end and invites to think: what will happen if science removes faith from human hearts? and what if pure feeling will win scientific and technological progress?
Today, life dictates to us certain conditions of the game: it is necessary to be strong, unbroken, steel. And our heart is gradually losing its softness, turning into a piece of metal. But when a living, subtle feeling suddenly penetrates into it, it malfunctions, starting to smoke, expand and melt. A society of progress will itself lead to an explosion. Will this be the end? Perhaps this will be just the beginning.