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Nadjana Mohr


Born in Moscow in 1987, Anastasia Malkhazova received her BA in Fine Arts from the Kunstakademie, Düsseldorf, Class of Tal R and Rosemarie Trockel, in 2010.
She additionally studied fictional, experimental and documentary film at the Academy of Media Arts, Cologne.
Her work is included in several private German and Russian Collections.
Malkhazova lives and works in Cologne and Moscow. Since her time at the Art Academy Düsseldorf her work has developed a highly idiosyncratic style for the visualization of thoughts, experimental distortion of reality, experimental impressions, philosophical writings and memories – a system which she is continually developing and expanding through the addition of new elements, styles and techniques.


Malkhazova translates the objects and figurative forms under investigation into a her own sense of abstraction, which then finds expression, sometimes as mystically, dark unclear figures, sometimes as turbulently dashed specks of paint, transitions of geometrical forms. She makes no distinction between abstraction and figuration, between the regularities of sudden expression and the spontaneity of freehand drawing, but rather, she explores the two poles of these supposedly rigid opposites within one and the same painting, allowing things begun with precision and exactitude to shed all restraint in an unforeseen gestural fling. Her large format Paintings consist of complex models, that can be read as the personal depiction of a thought, conveyed via stages of re-forming, abstracting, translating and processing. They offer information on one’s own and other people’s perception of images.

Malkhazova´s painting remain a substance of a thinking process. During the process of treating what has been seen, the thoughts takes place in the act of following the different areas and figures of the painting. Using a kind of intuitive mesh arrows, points, specks and mystical figures, which give pointers to movement, spatiality, the present, the future and infinity.
Malkhazova endeavours to locate the compositions she has begun within a seemingly subjective and mind driven significance. At the same time, the continual shedding of restraint and the infinite possibilities of perspective enabled by abstractive figuration defines the unstable, vertiginous forces at work in the far-flung expanses between perception, cognition and visualization.

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