Julia Sharkina

Femme fatale is one of the archetypal manifestations of this self. It is the absolutization of the aspect of manly attraction coupled with the dramatization of the aspect of unattainability and incomprehensibility.

At the other pole of the phenomenon, providing stability of tension, there is a mesmerized spectator, more often a man kidnapped by the charms of femme fatale, who "...stands amidst his noise, amidst the surf of his throws and sketches, ...and he sees quiet charming creatures gliding past him, whose happiness and isolation fulfill his longing - these are women. He is ready to think that there, in women, and lives the best himself, that in these corners and the most noisy surf is silenced and life itself becomes a dream of life. However! ... Magic and the most powerful effect of women is, in the language of philosophers, action at a distance, actio in distans: but here belongs and above all - the distance!

Yes, the distance allows to keep the tension for a while, remaining in relative safety. The depicted images of the exhibition are held within a set framework, weaving together light and darkness, fatal beauty, viciousness and "too human" romanticism of the lyrical heroine's aspirations.

The black-and-white format sets the duality.

Here in white - reflecting all colors beyond its own realization in color - one can see the femme fatale itself, manifested to varying degrees, but embedded in the matrix of any woman.

Femme fatale often appears in the dangerously dazzling radiance of her beauty, beyond realization in love. For she only attracts love and reflects it in narcissism, without bearing fruit, without leaving a trace of color.

Black, which absorbs all colors, which absorbs light, in its centripetal confinement to itself, is ruined as a black hole for the centrifugal aspiration of the masculine essence.
Black gives birth to a different Virgin - Diva, Divine, Divine in the demonic hypostasis of Eve's forerunner, Lilith - the absolute femme fatale!

"And I also realized that some women are as dangerous as traps, their hearts like nets and their hands like chains. And to be caught by such a woman is worse than death itself. He who follows God will escape her, but the sinner will become her prey."

The color black spills out into the foreground, threatening the protagonist's inner energy as an outwardly directed weapon that betrays the essential vulnerability of his corrupt earthly incarnations. Performance here is a way to touch the boundaries of feminine essence, to find the possibility to curb the inner femme fatale, to channel its power in a creative direction, to come to a pure interaction with the complementary essence, filled with the light of love.

"Human time does not turn in circles, but runs in a straight line forward. And this is the reason why man cannot be happy, for happiness is the thirst for repetition. Yes, happiness is the thirst for repetition."

It is the light of the desire of both extremes - white and black - for a viviparous fusion for the sake of finding a new incarnation that creates the endlessly repeating cycle of drama - the inexorable desire to live in peace with the world, to radiate love and give love.

And to emerge into color.

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