Perfume from the series “Life in Rose”
“Life in Rose” (La Vie en Rose) series, 2024
The pictures of the series were painted under the “chivalrous motto”, La Vie en Rose (Life in Rose). The message I convey in my paintings is: never lose hope, keep noticing and seeing beauty, enjoy the triumph of moments amidst the impermanence of the world.
Each work was conceived as something unimaginably beautiful, desirable, like a precious stone or an alloy. Yet, at the same time, I wanted to make the paintings alive and moving, changeable, independent, possessing their own history. The world depicted on the canvases seems wonderful and light, festive and solemn. But the illusion disappears, once you look into the works and engage in a dialog with them. Vibrant and baroque, the paintings move and fall apart into fragments, grow horns, scales, feathers... they acquire their own character and will. This ambivalence makes them attractive and repulsive at the same time, and makes you look closely, discovering all new details.
The paintings visualize world chaos as its distinctive feature. The very manner of painting reflects this impermanence. I sought to equalize the aesthetics of harmony and imperfection. Within the pictorial language itself, I created a deliberate conflict between the beautiful, plastic, noble - and the rough, nervous, fractured. I picked up specific “ideal” images from Renaissance and Baroque paintings, combined and collided them with each other, destroyed and reassembled them. For me, these periods in art are synonymous with deliberate beauty and high, unattainable ideals, and I take images from them as metaphors and allegories for my work. Through these images and plastic language I tried to detect the main nerve of the concept of each painting.
Dasha Maltseva
Commentary on the artist's painting by art critic Sergey Khachaturov:
Exceptional in the accuracy of color harmony, richness and nobility of tonal relations, Dasha Maltseva's painting seems to play along with the culture of gourmet savoring with a variety of affects, served as if in a painting of baroque still life. However, the principal difference between Dasha Maltseva's compositions and baroque paintings is the disembodiment of illusion, the virtualization of the object environment. For some reason this method of virtualization brought to mind the amazing Belgian artist Luc Tuymans. The images, as if passed through the filters of memory, become a kind of secondary image-remembrance of something long gone, of a time gone by, yet disturbing, bothering, awaiting participation and compassion.
Sergey Khachaturov
Dasha Maltseva was born in Perm in 1994 Lives and works in Moscow. Graduated with aBachelor’s degree in History from the HSE University (2016), then received a Master’sdegree at the HSE ART AND DESIGN SCHOOL at the program “Contemporary Painting”curated by Vladimir Dubosarsky and Oksana Simatova (2021). Currently studying at theJoseph Bakstein Institute of Contemporary Art. Member of the Creative Union of Artists ofRussia. The artist’s works have been exhibited in Moscow, St. Petersburg, London, Romeand Venice.
Dasha Maltseva’s art is about the sensation of things and phenomena — their states, their history. For the artist, it is essential to grasp the essence of her subject and distill its precise formula into a painted monument. She conveys her ideas through figurative painting, yet her manipulation of images serves as her own form of abstraction. Dasha Maltseva does not merely recreate them but follows her concept of reinterpretation: she acts as a researcher, exploring their alternative properties, meanings, transformations, and perpetual cycles of decay and rebirth. In this way, she discovers new modes of interaction with them, liberating them from familiar contexts and translating them into the language of painterly poetry.
This interplay keeps both the artist and the viewer in a state of constant tension, breaking free from conventions — blurring the line between the rational and the logical, the intuitive and the sensual. Her works often take on strange textures and “nervous” painterly-graphic combinations, yet Dasha Maltseva remains confident in the truthfulness and precision of her language. Each piece is an affect — a reborn fusion of the mundane and the familiar. Yet it does not demand decoding; rather, it is meant to resonate as a singular, cohesive construct.
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