AKIMOVA NENASTYA
AKIMOVA N.
MULTIMEDIA ARTIST
AGE 23
PORTFOLIO WEBSITE 2024
SOCIAL MEDIA:
IG
IG
SITE BY
SASHA OSIPOV ©
SASHA OSIPOV ©
NASTYA AKIMOVA (B. KALUGA, RUSSIA) IS A MOSCOW-BASED MULTIDISCIPLINARY ARTIST WORKING ACROSS PHOTOGRAPHY, MIXED MEDIA, AND INSTALLATION TO EXPLORE THE VISCERAL INTERSECTIONS OF TRAUMA, TRANSFORMATION, AND IDENTITY. HER PRACTICE INTERROGATES HOW PERSONAL AND COLLECTIVE FRACTURES SHAPE THE LABOR OF BECOMING, RENDERING THE BODY AS A SITE OF ERASURE AND RECLAMATION.
AKIMOVA’S WORK TRACES UNRESOLVED ECHOES OF CHILDHOOD, INTERPERSONAL RUPTURE, AND SOCIETAL LIMINALITY. THROUGH FRAGMENTED SELF-PORTRAITURE, EXPERIMENTAL BOOKMAKING, AND INSTALLATIONS MERGING ABSTRACTION WITH RAW INTIMACY, SHE MATERIALIZES PSYCHOLOGICAL STATES—CHAOS, RESILIENCE, METAMORPHOSIS. HER PROCESS IS DIARISTIC AND IMPULSIVE: TEXTS ETCHED IN MARKER, FOUND MATERIALS, AND LAYERED COLLAGES BECOME RITUALS OF SURVIVAL, MAPPING THE UNCHARTED TERRAIN BETWEEN DISINTEGRATION AND REBIRTH.
HER JOURNEY INTO ART BEGAN THROUGH PHOTOGRAPHY, WHICH REMAINS A CORE ELEMENT OF HER PRACTICE. ROOTED IN GRASSROOTS ARTISTIC COMMUNITIES, AKIMOVA FOUNDED THE PHOTO COLLECTIVE PADUGA AND INITIATED SEVERAL INDEPENDENT EXHIBITIONS, INCLUDING FACES & LACES (2018), ARTPLAY (2019), RED EYES (2020), AND SREDA (2021). THESE PROJECTS REFLECT HER COMMITMENT TO FOSTERING DIALOGUE AROUND VULNERABILITY, RELATIONSHIPS, AND THE COMPLEXITIES OF HUMAN CONNECTION.
AKIMOVA’S METHODOLOGY REJECTS POLISH IN FAVOR OF TACTILE IMMEDIACY, REFLECTING A BELIEF THAT ART IS NOT RESOLUTION BUT CYCLICAL NEGOTIATION—BETWEEN FRACTURE AND WHOLENESS, DESTRUCTION AND REPAIR, THE SELVES WE INHERIT AND THOSE WE INVENT.
AKIMOVA’S WORK TRACES UNRESOLVED ECHOES OF CHILDHOOD, INTERPERSONAL RUPTURE, AND SOCIETAL LIMINALITY. THROUGH FRAGMENTED SELF-PORTRAITURE, EXPERIMENTAL BOOKMAKING, AND INSTALLATIONS MERGING ABSTRACTION WITH RAW INTIMACY, SHE MATERIALIZES PSYCHOLOGICAL STATES—CHAOS, RESILIENCE, METAMORPHOSIS. HER PROCESS IS DIARISTIC AND IMPULSIVE: TEXTS ETCHED IN MARKER, FOUND MATERIALS, AND LAYERED COLLAGES BECOME RITUALS OF SURVIVAL, MAPPING THE UNCHARTED TERRAIN BETWEEN DISINTEGRATION AND REBIRTH.
HER JOURNEY INTO ART BEGAN THROUGH PHOTOGRAPHY, WHICH REMAINS A CORE ELEMENT OF HER PRACTICE. ROOTED IN GRASSROOTS ARTISTIC COMMUNITIES, AKIMOVA FOUNDED THE PHOTO COLLECTIVE PADUGA AND INITIATED SEVERAL INDEPENDENT EXHIBITIONS, INCLUDING FACES & LACES (2018), ARTPLAY (2019), RED EYES (2020), AND SREDA (2021). THESE PROJECTS REFLECT HER COMMITMENT TO FOSTERING DIALOGUE AROUND VULNERABILITY, RELATIONSHIPS, AND THE COMPLEXITIES OF HUMAN CONNECTION.
AKIMOVA’S METHODOLOGY REJECTS POLISH IN FAVOR OF TACTILE IMMEDIACY, REFLECTING A BELIEF THAT ART IS NOT RESOLUTION BUT CYCLICAL NEGOTIATION—BETWEEN FRACTURE AND WHOLENESS, DESTRUCTION AND REPAIR, THE SELVES WE INHERIT AND THOSE WE INVENT.