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
Anne Marie Finné’s works on paper are grounded in a meticulous and tactile approach to drawing. In her pencil works, delicate lines and subtle tonal variations build atmospheric compositions in which forms seem to hover between visibility and disappearance.
Her works on scratched carbon paper introduce a more physical dimension to this practice. By scratching directly into the dark, sensitive surface, Finné removes rather than adds material, allowing the image to emerge through a process of incision and revelation. The resulting marks have the quality of traces, suggesting fragments of memory, impressions or something that has been uncovered from beneath the surface.
Across both bodies of work, drawing becomes an act of inscription: a dialogue between presence and absence, surface and depth, gesture and erasure. The fragility of the paper contrasts with the precision and persistence of the artist’s hand, giving these seemingly quiet works a strong sense of material and temporal tension.
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.
