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Yelizaveta Nersesova

469.644.6141 | Dallas, Texas
lisanersesova@gmail.com | wwww.nersesova.com

Nersesova is Russian, born in Iran. At age two she relocated with her family to Africa where she spent her formative years in Lusaka, Zambia. At the time of Soviet collapse she returned to Russia where she lived in Moscow until 1996. He family then relocated to Dallas, Texas where she has been residing since. Nersesova holds an MFA in studio art from Southern Methodist University in Dallas, as well as an MA in art history from University of North Texas in Denton. She is currently an associate faculty at the University of Texas at Dallas, teaching introductory as well as advanced courses in painting and drawing. She has a solo show of her work at Alan Simmons Art+Design in May, 2013.

I reduce my identity and experience in the world to the simplest and most essential forms. The process of drawing and painting is a ritual in which I carefully seek out meaningful arrangements of forms. As they evolve these arrangements become microcosms, entities, symbolic events. They pulsate, oscillating between contraction and expansion, harmony and chaos. The self is hidden in the dynamic relationship between the parts and the whole. It is hidden in the underlying forces that sustain the microcosm. In the studio I am driven by the desire to access a space that allows for an interweaving of the external and the internal. This is a space where the external landscape penetrates the physical form and the internal landscape spills out into the surrounding environment.

In order to be allowed into this space, certain actions must be taken, certain words recited. The process takes the form of a ritual. This is not a ritual that I assign to myself, neither is it a predetermined set of actions. Rather, the acts of painting, looking, listening, responding, are all part of the ritual, which I am responsible for discovering. In this way, I feel myself drawn to the Aboriginal conceptions of Dreamings and Dreamtime. A Dreaming, which is at once highly personal and communal, alludes to an abstract space where uncreated creation spirits act out their roles in a time before creation of the universe. The beings and places of the Dreamings oscillate between various forms and can appear in many places at once. They are the form and space at once. Through ritual I bring the disparate parts of myself into a cohesive whole. I see the process of discovering the “self” as a necessary letting go of concrete realistic forms and a giving myself over to an abstract language which to me seems at once timeless and primordial as well as familiar and personal. Ultimately I think the “self” is in fact the Dreaming that is able to at once be singular and multiple, solid and fluid, form and space.


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