Alexey Dymdymarchenko

2019. Three-channel sound, graphite pencil, charcoal, wax crayon, pastel on paper, and glass.

This work includes a small paper drawing arranged with a large piece of glass tipped at an angle, and an audio track that plays a looped auditory sample of the sounds produced during the making of the drawing.

Dymdymarchenko, through the studio’s curator and translator Alexander Ivanov, shares the following artist statement: 

“What do we see when we encounter this torn and crumpled piece of paper? A piece of chalk leaves a trace when it is thrown at the white surface, and has nothing in common with drawing or any other traditional visual practice. Here, drawing means a gesture and a sound, it is a process with stages that are inaccessible to the observer and remain outside the boundaries of language. Examining the works of Alexey Dymdymarchenko, we face the impossibility of grasping and localizing the image, no matter how profound our knowledge of art and its practices is. Perhaps we should consider this work as a document, in which every mark or dot is accompanied by the sound of the chalk hitting the paper.”

In resonance with Autistic activist Amanda Bagg’s concept of non-human language, Dymdymarchenko embraces sound, material, and process. Mark-making is not only a visual output, but a material and auditory experience. In this way, the work draws attention to making itself as a ritual activity for centering sensory perception. Dymdymarchenko’s work, created in the context of living in residential care, and the ways in which the creation of aesthetic works, or artistic practice itself, can be understood as a kind of crip ritual for survival.



An image of the artist at work with a tub that has just been dumped out onto a white page. Dymdymarchenko is shown from above, a light-skinned man in a blue t-shirt with dark brown hair.

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