I am ready for a long road flight for work with a week- or months-long projects.
Unrelated attachments
Two exalted ladies knit, two exalted ladies count stitches, tighten knots, weave, sew, and unravel. Lilia and Yulia are mother and daughter, two artists with obvious similarities in their portraits and irreconcilable differences in their worldviews. The simple desire of children to brighten their parents' old age has led Yulia and Lilia to knit sculptures, so naturally, logically, predictably, and correctly. A multitude of individual pieces are woven by Lilia, and Yulia has assembled them into a unified whole in an attempt to preserve the fading creative energy of her aging loved one.
And while Lilia’s connection to reality is gradually and inevitably weakening, Yulia, on the contrary, crowds space with material expression, tangible proof of the ghostly, vanishing world that exists between the two—Lilia and Yulia.
For the first time, they are working together, and co-creation has become a rope bridge for them, a way to prolong life and a new form of relationship. While their "attachments" are still untied, both are interested in life. The daughter finds expression in her own feelings by studying and observing, empathizing and supporting, immersing herself in the other being of her loved one, trying to understand, hear, remember, and, finally, overcome the pain of separation. The interweaving of threads encodes the experiences of both the departing and the one watching them depart.
The two authors have created a kind of memorandum of attachment. Repeated elements, loops, and knots form rhythmic patterns that break and reemerge like patterns of human relationships. These cocoons, like spheres, contain the illusion of security and simultaneously the fear of unfreedom and vulnerability. Attachment is both a protective chainmail and a torturous chain. And only through the power of affection does a daughter adopt her mother in the creative space of knotted dialectic.
Innokenty Golts
And while Lilia’s connection to reality is gradually and inevitably weakening, Yulia, on the contrary, crowds space with material expression, tangible proof of the ghostly, vanishing world that exists between the two—Lilia and Yulia.
For the first time, they are working together, and co-creation has become a rope bridge for them, a way to prolong life and a new form of relationship. While their "attachments" are still untied, both are interested in life. The daughter finds expression in her own feelings by studying and observing, empathizing and supporting, immersing herself in the other being of her loved one, trying to understand, hear, remember, and, finally, overcome the pain of separation. The interweaving of threads encodes the experiences of both the departing and the one watching them depart.
The two authors have created a kind of memorandum of attachment. Repeated elements, loops, and knots form rhythmic patterns that break and reemerge like patterns of human relationships. These cocoons, like spheres, contain the illusion of security and simultaneously the fear of unfreedom and vulnerability. Attachment is both a protective chainmail and a torturous chain. And only through the power of affection does a daughter adopt her mother in the creative space of knotted dialectic.
Innokenty Golts