Kristina Solomoukha’s work is closely connected to architecture, its history, its symbolism and the urban context. Her approach questions the dynamic of networks, a dynamic which has radically altered our understanding and use of the urban space. Her objects set up a pragmatics of space: pylons, power lines, beacons, suburban landscapes, freeway intersections, logotype buildings (Maisons logos, 2002; Le jardin du Copyright, 2002), all places which are quality-less, overall signs of an urban dereliction. These representations, be they pictorial or three-dimensional, somewhere between sculpture and maquette, hijack the visual and ideological codes which govern our perception of space, and are presented like objects in a Potemkin set, film props, beyond time, beyond use, in their isolation and their absence of communication and exchange. Kristina Solomoukha thus does without the identity-based values of architecture, putting its signs of recognition in a state of crisis. Formal systems, pushed to the extreme, have become empty receptacles for a vanished subject. The heroic character of modernity, together with the signs of industrialization and all-conquering technology, are henceforth summoned up in the outlines of lacklustre logotypes.
Kristina Solomoukha, who was born in Kiev in Ukraine, is a graduate of the Ecole Nationale Supérieure des Beaux-Arts in Paris and the Ecole Régionale des Beaux-Arts in Nantes, and spent a fourth year at the Paris Malaquais Ecole d’Architecture in 2002. She has been awarded many grants and residencies in France and abroad, in particular in Berling (Villa Medicis Extra Muros in 1999 and the Sommerakademie in 2003) and in Sao Paulo with the AFAA (2005). Since 2003, she has been teaching at the Ecole Régionale des Beaux-Arts in Rennes, and since 2008 at the University of Art and Design in Geneva, Switzerland.