IN-GATE Gallery for Art On Paper 2026 presents a focused selection of works by Anne Marie Finné, Semyon Agroskin, and Vladimir Logutov, three artists who explore the intersections of art, art history, and the perception of artistic experience. Across these diverse approaches, the exhibition reflects on how we encounter, remember, and reinterpret images—whether drawn from memory, historical precedent, or the contemporary gallery space.
Anne Marie Finné
In her Nuit Claire and Les Bois series, Anne Marie Finné works with carbon paper, a material that reveals itself through erasure. Her drawings often evoke the backgrounds of old paintings, landscapes once hanging on the walls of her childhood home, now distilled into silent, archival memories. In her 2025 series—including Les Bois I (Corot), Les Bois III (Rousseau), and Les Bois VI (Constable)—Finné makes explicit references to art history, bridging classical reproductions with personal, nostalgic visions of nature.
The silhouettes of trees appear like clouds, shadows of printed images from past masterpieces. Through scratching, crossing out, and transferring carbon layers, Finné brings paper to the brink of exhaustion, creating forms through subtraction and rich, diffuse textures reminiscent of printmaking. Her work transforms material process into meditation: landscapes emerge not by addition, but through careful erasure and layered resonance, inviting viewers to consider the fragility and persistence of visual memory.
Semyon Agroskin
In his works on paper, Semyon Agroskin turns the seemingly familiar world of books, shelves, and libraries into a space of quiet contemplation. Stripped of narrative detail, these everyday objects become images of accumulated knowledge, memory, and time. The shelves appear both as architectural structures and as repositories of invisible histories, while the books themselves suggest the traces of lives, experiences, and ideas.
Working with the fluidity of watercolour and the opacity of tempera, Agroskin creates a delicate tension between precision and disappearance. His images hover between representation and abstraction, allowing the physical presence of the books to coexist with a sense of absence. The library thus becomes more than an interior: it is a metaphor for memory—ordered yet fragmentary, tangible yet constantly subject to loss and transformation.
This new group of works continues Agroskin’s longstanding interest in ordinary spaces and objects, through which he examines how perception can transform the familiar into something enigmatic.
Vladimir Logutov
Vladimir Logutov’s Meetings series of watercolors turns attention to perception, the viewer’s experience, and the very spaces where art is encountered. Windows, walls, and ceilings shift in and out of focus; abstract forms become floor plans, bare rooms, or geometric shapes, challenging the eye and inviting reflection on the act of seeing.
For Logutov, painting has become a form of meditation: the clean lines and clear blocks of color are achieved without tape, demanding precision and concentration. The white rectangles in his work represent “potential art,” a space for the conditional viewer to engage in an imaginative dialogue. Each exhibition becomes a dynamic reconfiguration of these parts, emphasizing that the encounter with art is never fixed. Logutov’s practice reminds us that in a visually saturated world—screens, billboards, museum walls—every act of viewing is a negotiation with distance, context, and perception.
Together, the works of Finné, Agroskin, and Logutov invite contemplation of memory, influence, and the conditions under which art is experienced. Whether through the delicate traces of erased landscapes, the playful dialogues with historical icons, or the shifting spaces of perception, the exhibition explores how we see, remember, and meet art in its many forms.
