Julia Nazar
Painting as a field of processes, not images
I work with traces — residual manifestations of light, time, and perception.
Julia Nazar is an artist and curator working with painting, installation, and performance. Her practice explores perception, processes, and traces as ways of recording reality. She graduated from the Institute of Contemporary Art Problems, Sreda Obucheniya, and the Surikov Moscow State Academic Art Institute. She participated in Archstoyanie and the Odessa Biennale of Contemporary Art. She is a winner of the Presidential Grants Fund with the project Caucasian Atlantis and the founder of the GLUBINA art community.
STATEMENT
My practice explores how reality is formed through perception.
I approach painting not as representation, but as a way of recording processes.
I work with two visual languages.
Abstract works fix traces — residual manifestations of light, time, weather, and internal states. They emerge without a center or narrative, as evidence of what has already happened or continues beyond direct perception.
Academic painting functions differently. It captures the visible world, yet I consider it also as a trace — a record of attention, duration, and presence. These works are not about depiction, but about holding a moment at the edge of disappearance.
In parallel, I create installations and performative situations that involve the viewer. By redirecting attention inward, perception shifts — and with it, the experienced reality.
Across all works, abstraction and realism act as two ways of recording processes: one captures what is invisible, the other — what is about to vanish.
STATEMENT
My practice explores how reality is formed through perception.
I approach painting not as representation, but as a way of recording processes.
I work with two visual languages.
Abstract works fix traces — residual manifestations of light, time, weather, and internal states. They emerge without a center or narrative, as evidence of what has already happened or continues beyond direct perception.
Academic painting functions differently. It captures the visible world, yet I consider it also as a trace — a record of attention, duration, and presence. These works are not about depiction, but about holding a moment at the edge of disappearance.
In parallel, I create installations and performative situations that involve the viewer. By redirecting attention inward, perception shifts — and with it, the experienced reality.
Across all works, abstraction and realism act as two ways of recording processes: one captures what is invisible, the other — what is about to vanish.
SERIES Traces
Canvas, mixed media
The series explores processes through their residual manifestations — rain, light, wind, time.
The works function as surfaces where traces appear. There is no central image and no narrative.
Painting does not depict — it records.
The image emerges as a result of impact: it shifts, interrupts, and partially disappears.
A trace is evidence of absence — of what has already happened or continues beyond perception.
Painting becomes a field where processes are fixed.
The series explores processes through their residual manifestations — rain, light, wind, time.
The works function as surfaces where traces appear. There is no central image and no narrative.
Painting does not depict — it records.
The image emerges as a result of impact: it shifts, interrupts, and partially disappears.
A trace is evidence of absence — of what has already happened or continues beyond perception.
Painting becomes a field where processes are fixed.
Limit of Form
Installation, textile objects
This project explores the moment when form reaches its limit and can no longer sustain itself.
Light is treated not as illumination, but as matter. It flows, gathers, and descends. Lines are not structures, but trajectories of movement.
Form appears as a temporary structure and collapses at the point of maximum tension. Appearance and disappearance occur simultaneously.
Form exists only within this unstable transition.
This project explores the moment when form reaches its limit and can no longer sustain itself.
Light is treated not as illumination, but as matter. It flows, gathers, and descends. Lines are not structures, but trajectories of movement.
Form appears as a temporary structure and collapses at the point of maximum tension. Appearance and disappearance occur simultaneously.
Form exists only within this unstable transition.
Without Condition
Installation, painting, performance
The work creates a situation where the viewer encounters their own reaction.
A narrow passage made of fabric is stripped of events and visual anchors. Attention searches for support, creating inner tension — the impulse to move faster, to leave, to avoid staying.
At the end, a nearly image-less painting is placed — a subtle field with a minimal shift.
The work captures not an external image, but the moment before reaction — the point where perception can change.
Performance instruction:
Look until the desire to turn away appears.
At that moment, resistance becomes visible.
The work creates a situation where the viewer encounters their own reaction.
A narrow passage made of fabric is stripped of events and visual anchors. Attention searches for support, creating inner tension — the impulse to move faster, to leave, to avoid staying.
At the end, a nearly image-less painting is placed — a subtle field with a minimal shift.
The work captures not an external image, but the moment before reaction — the point where perception can change.
Performance instruction:
Look until the desire to turn away appears.
At that moment, resistance becomes visible.
Kirlian Effect
Performance–experiment
This project explores perception as a mutable process.
An experiment was conducted using an aura camera to record the viewer’s state before and after interacting with paintings depicting crystalline structures emerging from meditative practice.
These changes are not treated as objective data, but as manifestations of perception.
The work constructs a situation in which the viewer becomes part of the system, and their state becomes an element of the process.
This project explores perception as a mutable process.
An experiment was conducted using an aura camera to record the viewer’s state before and after interacting with paintings depicting crystalline structures emerging from meditative practice.
These changes are not treated as objective data, but as manifestations of perception.
The work constructs a situation in which the viewer becomes part of the system, and their state becomes an element of the process.
Realist Works
These works are based on the tradition of realist painting, yet approached as a form of recording rather than representation.
Each painting фиксирует состояние — light, weather, silence, presence. They are built through duration and attention.
The image is held at the edge of disappearance.
In this sense, these works are also traces — not of events, but of perception.
Each painting фиксирует состояние — light, weather, silence, presence. They are built through duration and attention.
The image is held at the edge of disappearance.
In this sense, these works are also traces — not of events, but of perception.
MEDIA PUBLICATIONS
Press about me
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Julia Nazar: "The Kirlian effect. Mysticism or physics"
АиФ
Using the method of high-frequency filming, discovered by the Soviet scientist Kirlian, the artist Julia Nazar captures the states of the electromagnetic field of the viewer during his observation of a particular work of art.
https://argumentiru.com/2023/03/kk-533336 -
Utterance as a messageerity
Культура.РФ
The Russian State Library of Arts opens a new exhibition. The exhibition presents art objects, each of which is a statement and a message at the same time. The exhibition includes the work "The Rose Line" by Yulia Nazar.
https://www.culture.ru/events/2845043/vystavka-vyskazyvanie-kak-poslanie -
Prosperity
Арт Вести
A new exhibition "Prosperity" opens in the ecological and educational center "Floriculture" (Pavilion No. 29 at VDNH). The exhibition is curated by Yulia Nazar.
Prosperity is the energy of women and therefore the artists chose flowers as the main character of their works..
https://artvesti.ru/news/2023/02/07/protsvetanie/
АРТ Вести https://youtu.be/B15NB3_bpTI -
Inner Pattern
Mосква News
Weaving and weaving appeared long before metalworking and even ceramics. Many beliefs and omens are associated with the process of weaving. The Inner Pattern project appeared thanks to the interaction of curator Yulia Nazar and all the artists involved in it.
https://mockvanews.ru/galereya-glubina-vystavka-vnutrennij-uzor/ -
“MYTH STORAGE": rethinking mythologyThe exhibition offers the viewer a journey through the museum of myths constructed or interpreted by artists and performers.
The exhibition was curated by Yulia Nazar together with Elena Aseeva.
https://tilda.cc/page/?pageid=28217660&projectid=5656918 -
Paradoxes of Evolutionargumentiru
In November, the Darwin Museum opened the exhibition "Paradoxes of Evolution", curated by Julia Nazar. This is a great work of contemporary artists from different cities of Russia, during which more than 40 participants of the exhibition asked the most difficult question of the evolution of humanity and its future.
https://argumentiru.com/2022/11/kk-531757
https://artvesti.ru/news/2022/10/28/paradoksy-evolyutsii-v-darvinskom-muzee/
https://youtu.be/MdrZKVlcUUY -
Ode to the Treesortavala.bezformata
Only one day, on September 16, the installation "Ode to the Tree" by the Moscow artist Yulia was opened in Sortavala Nazar, resident of Glubina Gallery. This project was the result of the artist's work in the Sortavala Art Residence,
https://sortavala.bezformata.com/listnews/poslushayte-kak-derevo-poyot/109959764/ -
Latest practicesartguide.com
On March 4, Yulia Nazar and Svetlana Demina launched a joint project "Gohua. Morning is approaching, but it is still night (Isaiah 21:12)." The second part of the exhibition title appears in the explication of each work.
https://artguide.com/posts/2414 - The Structure of the Interference Association
artandyou
The experimental exhibition “The Structure of the Interference Association” of the GLUBINA gallery association is a research project, the first part of which was carried out in the north of the Leningrad Region by 13 artists and curator Yulia Nazar
https://artandyou.ru/interview/artists/glubina_gallery/ - Is there happiness? ARCHSTOYANIE 2022
KP
One of the largest festivals of contemporary art ARCHSTOYANIE was held in Nikola-Lenivets for the seventeenth time. This year, the main topic was the question "Is there happiness?" and the search for points of support to survive a difficult time. And the festival confirmed with confidence that there is Happiness. Yulia Nazar decided to measure the height of happiness in her project
https://www.kp.ru/afisha/msk/obzory/moj-gorod/samye-interesnye-obekty-2022/
https://porusski.me/2022/07/26/01-programma-arhstoyaniya-2022-schaste-est/ - Seeming Randomness
WORLD NEWS
Thinkers who denied the objective nature of Randomness would call this exhibition "Seeming Randomness", since randomness is something that we do not know the reason for. Curator Julia Nazar
https://mirnov.net/otkrytie-art-galerei-i-vystavki-v-moskve/ - Nutrition system
Главная страница - Mосква News
The exhibition contains authentic precedents and the results of experiments in building harmonious models of natural, artificial and human communities.
A program of performances with the participation of Yulia Nazar and Svetlana Demina "Nutrition system" was shown at the opening day
https://mockvanews.ru/vystavka-idealnye-soobshhestva/
Contact us:
+7 495 9950613
gallery@glubinagallery.ru
gallery@glubinagallery.ru
Russia,Moscow
