Alina Senchenko is a Ukrainian born visual artist whose work explores contemporary events and representations of Ukraine. Senchenko fuses her photography, the appropriation of mass media images, historical photographs, and text to mediate on memory and the experiences of ordinary people in the post-soviet era Eastern European countries.
Senchenko has exhibited locally and internationally: at CSA Space in 2019 (Vancouver), Rudolfstrasse 7 in 2018 (Germany), Art Platform in 2018 (Ukraine), Dynamo Art Association in 2017, PLAZA Projects 2016, Print Ready VII 2016, Project Space 2015, Vancouver Art/Book Fair 2015, Access Gallery 2014, and Square Project 2014 (Vancouver). In 2018, she received an honourable mention in the “Scorpion and Felix Book Award”, and as well Senchenko was awarded a small run of her book by Publication Studio in Vancouver; in 2014 Senchenko was the finalist for the “AIMIA/AGO photography prize”.
Identity is something that exists in constant flux; it is shaped by the century, society and culture. It is almost impossible to depict one’s identity with his/her complexities. We are not the same today as were yesterday. Art historically, numerous artists created self-portraits that allowed them to reflect and reevaluate issues of society and to explore the endless complexities of identity.
“Dislocation” (2013) explores the ideas of occupying the in-between space and identity, often questioning how we find ourselves out of place but constantly trying to fit in a new structure and culture. The preconceived rules and expectations, which cause the conflict between different ideologies, make me rethink my old self and in order to shape a new one. Thought the documented performance in a domestic space, I portray the frustrating and torturing experience of adapting to a new place and foreign culture, illustrating the disturbance and process of identity in transformation. The concept of self-portrait brings another layer to the work, even though the self-portrait appears to be unconventional since the bodily gestures are more dominant than the face, this undefined and abstract approach deepens the complexity and the nature of self-portraits.
“Dislocation” consists of five silver gelatin prints (8×10 inches).