NEW ARTWORKS
Alexandra is a member of the All-Russian Creative Public Organization "Union of Artists of Russia," a member of the International Association of Art (IAA/AIAP UNESCO), a participant in the contemporary artists' group "M.O.Kh.," and a member of the Union of Artists of the DPR.
Since 2021, she has been a regular participant in group exhibitions—including international ones—as well as contemporary art fairs.
Her work is represented by the Open You Gallery in Saint Petersburg, held in the collection of the Saint Isaac’s Cathedral State Museum, and featured in private collections across Russia, Germany, and Spain.
Alexandra Andreeva is a contemporary artist currently living and working in Donetsk.
Her primary media are painting and mixed-media sculpture.
Curator - Dina Mytsyk
Artists work with the boundaries between what is one’s own and what belongs to others, what has been lived and what has not, the real and the imagined. The viewer here does more than just observe: their gaze becomes part of how what is seen comes into being.
We are constantly creating and revising versions of ourselves—within our own perspective, our memory, our relationships with others, and the roles we adopt. "Witness to Coincidence" engages with this multiplicity, exploring the individual through these various versions of the self.
Perhaps a definitive image of a human being does not exist at all.
EDUCATION
2026 "Professional Introduction to the Theory and Practice of Abstract Art," curated by Maria Hiltunen, educational platform OnStudy (professional retraining diploma)2025 "Art Project" course, "Get Art Fit", School of Contemporary Art
2025 "Neural Networks" intensive, European University at St. Petersburg
2025 "Navigating the European Art Market" intensive, Art Lift Agency
2024 One-year contemporary art program (supplementary professional education): "Professional Introduction to the Theory and Practice of Contemporary Art," curated by Maria Hiltunen, "OnStudy" educational platform
2019 Drawing and painting courses at the studio of T.A. Komendant — an artist, Doctor of Philosophy, and member of the Union of Artists of the DNR
2025 "Neural Networks" intensive, European University at St. Petersburg
2025 "Navigating the European Art Market" intensive, Art Lift Agency
2024 One-year contemporary art program (supplementary professional education): "Professional Introduction to the Theory and Practice of Contemporary Art," curated by Maria Hiltunen, "OnStudy" educational platform
2019 Drawing and painting courses at the studio of T.A. Komendant — an artist, Doctor of Philosophy, and member of the Union of Artists of the DNR
EXHIBITION ACTIVITIES (CV)
2026 Group exhibition "Witness to Coincidence," Open You Gallery, St. Petersburg, Russia
2026 Group exhibition "Life in the Boundary Layer," City History Museum, Goryachy Klyuch, Russia
2025 Group exhibition "Crème de la Crème," ARS. VISIO display gallery, Moscow, Russia
2025 Group exhibition "New Year’s Market," Metamodernists Gallery, St. Petersburg, Russia
2025 11th WIN-WIN Autumn Contemporary Art Market, Winzavod Center for Contemporary Art, Moscow, Russia
2025 Group exhibition "Transmission of Meaning: Dialogue," Art Maison Gallery, Moscow, Russia
2024 Memorial exhibition "Homeland. Donbass" at the St. Isaac’s Cathedral State Museum, St. Petersburg, Russia
2024 Exhibition project "Donbass. Industrial Portrait," Moscow Exhibition Halls Association, Moscow, Russia
2024 Exhibition project "Donbass. Industrial Portrait," M. Matusovsky Lugansk State Academy of Culture and Arts, Lugansk, Russia
2024 Exhibition project "Donbass. Industrial Portrait," Donetsk Republican Art Museum, Donetsk, Russia
2024 Group exhibition "Without Borders: Artists of Donbass" as part of the World Youth Festival, Sochi, Russia
2024 International contemporary art exhibition and competition "Floral Magic," New Delhi, India
2023 Exhibition project "Donbass: An Industrial Portrait," Museum of the Academy of Arts, St. Petersburg, Russia
2023 Group exhibition "Donbass: An Industrial Portrait," Gostiny Dvor, Moscow, Russia
2023 International exhibition-competition "St. Petersburg Art Week," exhibition halls of the St. Petersburg Union of Artists, St. Petersburg, Russia
2023 Festival of contemporary Russian culture "Culture of Donbass — Heart of the Russian People," Stavropol, Russia
2023 International abstraction festival "Abstractum," Moscow, Russia
2022 Group exhibition "Without Borders: Artists of Donbass" as part of the "Tavrida.ART" festival, Sudak, Russia
2022 Group exhibition "Without Borders: Artists of Donbass" as part of "Tavrida.ART" week, Moscow, Russia
2021 International exhibition-competition "Floral Kingdom," "Eurasium" Gallery, Moscow, Russia
2026 Group exhibition "Life in the Boundary Layer," City History Museum, Goryachy Klyuch, Russia
2025 Group exhibition "Crème de la Crème," ARS. VISIO display gallery, Moscow, Russia
2025 Group exhibition "New Year’s Market," Metamodernists Gallery, St. Petersburg, Russia
2025 11th WIN-WIN Autumn Contemporary Art Market, Winzavod Center for Contemporary Art, Moscow, Russia
2025 Group exhibition "Transmission of Meaning: Dialogue," Art Maison Gallery, Moscow, Russia
2024 Memorial exhibition "Homeland. Donbass" at the St. Isaac’s Cathedral State Museum, St. Petersburg, Russia
2024 Exhibition project "Donbass. Industrial Portrait," Moscow Exhibition Halls Association, Moscow, Russia
2024 Exhibition project "Donbass. Industrial Portrait," M. Matusovsky Lugansk State Academy of Culture and Arts, Lugansk, Russia
2024 Exhibition project "Donbass. Industrial Portrait," Donetsk Republican Art Museum, Donetsk, Russia
2024 Group exhibition "Without Borders: Artists of Donbass" as part of the World Youth Festival, Sochi, Russia
2024 International contemporary art exhibition and competition "Floral Magic," New Delhi, India
2023 Exhibition project "Donbass: An Industrial Portrait," Museum of the Academy of Arts, St. Petersburg, Russia
2023 Group exhibition "Donbass: An Industrial Portrait," Gostiny Dvor, Moscow, Russia
2023 International exhibition-competition "St. Petersburg Art Week," exhibition halls of the St. Petersburg Union of Artists, St. Petersburg, Russia
2023 Festival of contemporary Russian culture "Culture of Donbass — Heart of the Russian People," Stavropol, Russia
2023 International abstraction festival "Abstractum," Moscow, Russia
2022 Group exhibition "Without Borders: Artists of Donbass" as part of the "Tavrida.ART" festival, Sudak, Russia
2022 Group exhibition "Without Borders: Artists of Donbass" as part of "Tavrida.ART" week, Moscow, Russia
2021 International exhibition-competition "Floral Kingdom," "Eurasium" Gallery, Moscow, Russia
ARTIST STATEMENT
ARTIST STATEMENT
My practice was born from a simple yet unsettling question: where does the will of others end within me, and where does my own begin? I grew up at the crossroads of family narratives, traditions, and creeds passed down to me like an heirloom dinner service—beautiful, but not always fitting.
For a long time, I perceived myself as the sum of these voices: the voices of loved ones, ethnic memory, and social expectations. Yet, as I grew older, I felt an increasingly sharp need to hear my own voice within this choir.
My method is the archaeology of the everyday. I "excavate" my own experience to find the assembly point of my "Self." Where does it lie? In free choice, or in an inherited program?
In my works, wire becomes the framework for these programs—the genealogical trees and dogmas that shape us. Paper pulp and papier-mâché serve as a metaphor for the very living, breathing flesh of identity that layers over the armature for years, absorbing prayers, family histories, and cultural codes. Wood, to me, is more than just a material; it is a foundational memory that either holds you up or weighs you down.
Yet, there is another, invisible layer that is always with me—my musical background. It taught me to think not only in terms of form, but also through pauses, rhythm, and silence. At some point, I realized that painting and sculpture are, for me, another kind of score where the material resonates with its own unique sound. I chose contemporary art precisely for this polyphony: for the freedom not to limit myself to a single medium, but to shift fluidly between sound, form, and color.
Over the past few years, life has stripped away my illusion of stability. The world that once seemed unshakeable collapsed, and the question of identity shifted from academic to existential: what do you hold onto when the ground slips from beneath your feet?
This "dance of life" became my way of maintaining balance—both literally and figuratively. Art transformed into the very anchor that allows me to move forward when the mind insists there is nowhere left to go.
My objects are not answers. They are questions frozen in material. They are an attempt to visualize the process of piecing oneself together from fragments: what of this heritage do I keep as a part of me, and what do I cast away to be melted down? How, at the intersection of family scripts, ethnic memory, and personal choice, is a unique voice born?
I invite the viewer not just to look, but to listen closely—to this choir of voices, to the silence between them, and to their own internal vibrations. Perhaps in this space between sound and stillness, between the inherited and the hard-won, we ultimately find ourselves.
For a long time, I perceived myself as the sum of these voices: the voices of loved ones, ethnic memory, and social expectations. Yet, as I grew older, I felt an increasingly sharp need to hear my own voice within this choir.
My method is the archaeology of the everyday. I "excavate" my own experience to find the assembly point of my "Self." Where does it lie? In free choice, or in an inherited program?
In my works, wire becomes the framework for these programs—the genealogical trees and dogmas that shape us. Paper pulp and papier-mâché serve as a metaphor for the very living, breathing flesh of identity that layers over the armature for years, absorbing prayers, family histories, and cultural codes. Wood, to me, is more than just a material; it is a foundational memory that either holds you up or weighs you down.
Yet, there is another, invisible layer that is always with me—my musical background. It taught me to think not only in terms of form, but also through pauses, rhythm, and silence. At some point, I realized that painting and sculpture are, for me, another kind of score where the material resonates with its own unique sound. I chose contemporary art precisely for this polyphony: for the freedom not to limit myself to a single medium, but to shift fluidly between sound, form, and color.
Over the past few years, life has stripped away my illusion of stability. The world that once seemed unshakeable collapsed, and the question of identity shifted from academic to existential: what do you hold onto when the ground slips from beneath your feet?
This "dance of life" became my way of maintaining balance—both literally and figuratively. Art transformed into the very anchor that allows me to move forward when the mind insists there is nowhere left to go.
My objects are not answers. They are questions frozen in material. They are an attempt to visualize the process of piecing oneself together from fragments: what of this heritage do I keep as a part of me, and what do I cast away to be melted down? How, at the intersection of family scripts, ethnic memory, and personal choice, is a unique voice born?
I invite the viewer not just to look, but to listen closely—to this choir of voices, to the silence between them, and to their own internal vibrations. Perhaps in this space between sound and stillness, between the inherited and the hard-won, we ultimately find ourselves.
SERIES "ASSEMBLE THE WHOLE"
Nostalgia for childhood often evokes idyllic memories—a carefree summer, a vibrant city courtyard, a sense of safety and purity.
The work Vulnerability 1 enters into a dialogue with this theme, offering an interior perspective—memories stripped of the protective gloss of belated nostalgia.
A child’s dress is chosen as the object of nostalgia, serving as a universal symbol of innocence and carefreeness. However, it is presented not as solid fabric, but as an armature constructed from wire and fragments of papier-mâché.
This serves as a metaphor for the very process of remembering: we do not reproduce the past in its entirety, but rather construct it from fragile, scattered debris, bound together by the "wire" of our current perception.
The work Vulnerability 1 enters into a dialogue with this theme, offering an interior perspective—memories stripped of the protective gloss of belated nostalgia.
A child’s dress is chosen as the object of nostalgia, serving as a universal symbol of innocence and carefreeness. However, it is presented not as solid fabric, but as an armature constructed from wire and fragments of papier-mâché.
This serves as a metaphor for the very process of remembering: we do not reproduce the past in its entirety, but rather construct it from fragile, scattered debris, bound together by the "wire" of our current perception.
The work "Expectations" serves as a materialized metaphor for internal conflict and the process of identity crystallization under the pressure of societal mandates. It is a hybrid form exploring the intermediate—"raw"—state of an individual who no longer fits into simple categories yet has not yet achieved wholeness.
The hybrid nature of the form embodies the conflict arising from the dialogue between social constructs of femininity and masculinity. Their fusion within a single object visualizes the internal dialogue—or struggle—with the gender expectations imposed by social norms.
While the object itself is static, its meaning lies in the process. It captures a moment "in-between," a state of incompleteness that constitutes the very essence of the search for identity.
The hybrid nature of the form embodies the conflict arising from the dialogue between social constructs of femininity and masculinity. Their fusion within a single object visualizes the internal dialogue—or struggle—with the gender expectations imposed by social norms.
While the object itself is static, its meaning lies in the process. It captures a moment "in-between," a state of incompleteness that constitutes the very essence of the search for identity.
The mixed-media sculpture "Minankari" is an exploration of the archetypal journey toward wholeness through the collision and synthesis of cultural codes.
The work gives form to the internal dialogue of an individual torn between different layers of ancestral memory, embodying the very moment identity is "assembled" from fragments.
The object serves as a meditative conduit, inviting the viewer to physically sense the tension between their roots and their present self—between a distinct code and a blurred memory.
It asserts that cultural identity in the modern world is not a given, but an act of creation in which you are the artist, and the materials are the accumulated layers of inherited myths and personal roots.
The work gives form to the internal dialogue of an individual torn between different layers of ancestral memory, embodying the very moment identity is "assembled" from fragments.
The object serves as a meditative conduit, inviting the viewer to physically sense the tension between their roots and their present self—between a distinct code and a blurred memory.
It asserts that cultural identity in the modern world is not a given, but an act of creation in which you are the artist, and the materials are the accumulated layers of inherited myths and personal roots.
SERIES OF WORKS
- Series "Not so childish blocks"
- Series "The Requested"
- Series "Polyphony"
2025
"Dialogue: Conveying Meaning" (Dialog. Smysloperedacha) catalog, Moscow
"New Year" (Novogodniy) catalog, Moscow
2024
"Donbas: Russia" catalog, Saint Isaac's Cathedral State Museum, Saint Petersburg
"Cultural St. Petersburg" (Kulturny Peterburg) newspaper, No. 9 (147), November 23, 2024, p. 13, Saint Petersburg
2023
"Donbas–Russia: A Shared History" catalog, Foundation for Cultural Initiatives (Obshchestvenny fond "Fond kulturnykh initsiativ"), p. 38, Moscow Region
2022
Interview on the social media page of the Donetsk Republican Art Museum
"Dialogue: Conveying Meaning" (Dialog. Smysloperedacha) catalog, Moscow
"New Year" (Novogodniy) catalog, Moscow
2024
"Donbas: Russia" catalog, Saint Isaac's Cathedral State Museum, Saint Petersburg
"Cultural St. Petersburg" (Kulturny Peterburg) newspaper, No. 9 (147), November 23, 2024, p. 13, Saint Petersburg
2023
"Donbas–Russia: A Shared History" catalog, Foundation for Cultural Initiatives (Obshchestvenny fond "Fond kulturnykh initsiativ"), p. 38, Moscow Region
2022
Interview on the social media page of the Donetsk Republican Art Museum
publications
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