ГЛЕБ БАРАНОВ
oil on canvas / 180x150cm
Artist Statement
My work examines how subjectivity is formed within the overlapping fields of digital media, subcultural aesthetics, and embodied perception. I focus on the visual codes of anime, early internet imagery, and video-game culture—not as nostalgia or fandom, but as structures that shape how a generation negotiates intimacy, desire, and distance.
I work across painting, graphics, and manual interventions. Central to my practice is the tension between automated or ready-made images and the slow, corrective gesture of the hand. I use drawing, color pencil, or collaborative mark-making as a way to reintroduce duration, friction, and vulnerability into surfaces that are otherwise frictionless.
Across projects, I explore the instability between immersion and observation: the moment when a mediated figure confronts a material environment, or when a machine-generated image requires human completion. My practice treats these collisions not as conflicts between “high” and “low” culture, but as spaces where new sensibilities arise—hybrid forms of looking that belong to a world distributed between screens and physical presence.
oil on canvas / 180x150cm
My work examines how subjectivity is formed within the overlapping fields of digital media, subcultural aesthetics, and embodied perception. I focus on the visual codes of anime, early internet imagery, and video-game culture—not as nostalgia or fandom, but as structures that shape how a generation negotiates intimacy, desire, and distance.
I work across painting, graphics, and manual interventions. Central to my practice is the tension between automated or ready-made images and the slow, corrective gesture of the hand. I use drawing, color pencil, or collaborative mark-making as a way to reintroduce duration, friction, and vulnerability into surfaces that are otherwise frictionless.
Across projects, I explore the instability between immersion and observation: the moment when a mediated figure confronts a material environment, or when a machine-generated image requires human completion. My practice treats these collisions not as conflicts between “high” and “low” culture, but as spaces where new sensibilities arise—hybrid forms of looking that belong to a world distributed between screens and physical presence.