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Liza Petrova, The aisle, Painting on plastic
Liza Petrova, The aisle, Painting on plastic
Liza Petrova, The aisle, Painting on plastic
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Liza Petrova, The aisle, Painting on plastic
Liza Petrova, The aisle, Painting on plastic
Liza Petrova, The aisle, Painting on plastic
Liza Petrova, The aisle, Painting on plastic
Liza Petrova, The aisle, Painting on plastic
Liza Petrova, The aisle, Painting on plastic

The aisle, 2023
Liza Petrova  

Painting : oil, ink, gouache · 101 x 105 x 0.3 cm 39.8 x 41.3 x 0.1 inch

€4,900 4 900 €
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Shipped from: Russian Federation

Delivery to: France , € 138

Estimated delivery: Four to five weeks

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Verified Reviews : 9.6/10
9.6/10
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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, not framed

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

oil , ink , gouache on plastic

Dimensions ( cm • inch )

101 x 105 x 0.3 cm 39.8 x 41.3 x 0.1 inch Height x Width x Depth

Sold by

Art gallery

TOVA Gallery • United Kingdom

Credentials

Vetted seller since 2025

Description

The aisle symbolizes a narrow opening of possibility within a shattered world. 
The burnt forest functions as a space of historical and moral hopelessness. Two dark verticals of irreversible experience frame a narrow strip of hope and humanity between them. Because of this, the figure below appears particularly vulnerable: she does not command the space or move through it heroically, but seems simply to exist under its weight.
Alcohol ink, gouache, and oil on plastic create a luminous yet matte triptych composition. The loose abstraction of the grass in the aisle meets the simplified pattern of trunks and crosses.

Nude

Landscape

Mountain landscapes

Human body

Forest

Trees

brown

Yellow
Liza Petrova, The aisle
Liza Petrova

Liza Petrova

Russian Federation  • 1993

Presentation

Liza Petrova (b. 1993, Russia) is a Belgrade-based figurative artist, working with painting in mixed media, combining traditional oil techniques with innovative materials such as alcohol ink on plastic. In her work, she seeks to capture the emotional and social landscapes of a rapidly changing world. A graduate of the Moscow Architectural Institute and former urban planner, she explored several visual disciplines before turning to contemporary painting, including illustration and digital character design. Her practice centered on the transformative potential of materials – from early experiments with diluting gouache and acrylic to her current use of alcohol ink and dissolved oil.

ARTIST STATEMENT

My background is in urban planning and architecture, and it continues to shape the way I approach art. It taught me to think through systems of relations and scales, rather then isolated forms. I am interested in how personal, social, historical, and spatial meet within one image. My interest in continuity and complex global systems is close to Aby Warburg's idea of the migration of images, which understands visual motifs as mobile carriers of emotional memory that travel across time, space, and media, continually transforming in new historical contexts and reflecting changes in human society. This is why I work with classic subjects such as the portrait, the nude, or the figure in a landscape: timeless and ever-evolving, they create a conversation between artists throughout history.

My work examines how the language of contemporary art interacts with and reshapes these traditional subjects and materials. I work in mixed media, primarily combining alcohol ink and oil on plastic. Through symbolic imagery, I explore how personal inner mythology reflects broader social and historical contexts. My work begins with the tension between a person and the space around them. In my portraits, the figure affects the space around it, distorting it, extending the personality beyond the body, and reflecting its inner state.

More recently, my long-standing interest in the relationship between body and space has led me to a new formal question: the plasticity of the painting surface. I am interested in preserving what Clement Greenberg identified as painting's defining condition – flatness – while shifting the work out of its fixed relation to the wall. Rather than reintroducing illusionistic depth or treating painting as sculpture, I want the surface itself to bend, fold, and shape perception as a spatial structure.

In my practice, material occupies the central role. Material is already a bearer of cultural memory and emotion. Oil and canvas are inseparable from European culture. Alcohol ink functions for me both as a contemporary material and as a reference to ancient ink-drawing practices, while plastic marks an irreversible transformation of nature and culture. In my process, much of the work is handed over to the material itself. It speaks through abstraction and an approach of controlled accidents. I like to dissolve and split material into its basic particles. I experience this as both a liberation of the material and as a practice of sharing responsibility with the universe. For this reason, process is the central part of my work.

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