07.11 — 30.12, 2025
every week day
10:00 — 19:00
Promethus Gallery
at Localie Hub
Rudi van Dantzigstraat 3,
Amsterdam
New Land, 2024
oil on canvas
140 × 100 cm
Edition: 1/1
Price: €4500
Anastasia Vermeer
Anastasia Vermeer, New Land
In this work, the nails are depicted as resembling trees,
their tips embedded in dense black soil. They symbolize
the fragile yet persistent process of taking root. The birch-like pattern alludes to memory — to traces of the past
that now become part of a new identity.
The artist is not experiencing loss, but rebirth. The new land
— at first foreign, reserved, and dark — gradually becomes familiar.
It accepts, though not immediately. And in that acceptance,
a new home is born — not a geographic one, but an inner one.
This piece is about the power of adaptation, about the feminine ability to create even in times of rupture, and about how memory
does not hinder progress but becomes a point of grounding.
Artist
Life was stolen, 2022
watercolor on paper
38x56 cm
Edition: 1/1
Price: €800
Anonymous Artist, Life was stolen
The artist remains trapped within the borders she cannot cross
— a witness to her own inner exile.
In the image of a screaming girl, her silent outcry takes form:
a rupture between voice and void, between the urge to escape
and the impossibility of departure.
This work becomes not representation, but resonance
— the echo of a freedom deferred, yet still fiercely desired.
Framing the Present, 2022
oil on paper
42.1 × 29.7 cm
Edition: 1/1
Price: €400
Arina Lapina
Arina Lapina, Framing the Present
This work is part of the series Holding Myself, born during a time
of emigration and inner burnout.
The gesture of the hands, as if framing a shot, symbolizes the search for grounding and the desire to regain control over one’s own gaze.
It is a moment of awareness: what do I choose to see,
what do I give meaning to, where do I place my focus?
By painting my own hands, I reminded myself that strength lies
in presence — in the simple act of creating and seeing.
Accident, 2025
hand weaving
100 × 100 cm
Edition: 1/1
Price: €1200
Aysha Demina
Aysha Demina, Accident
Accident is a work about a broken heart and the losses
in life that we encounter along the way.
Here, a road sign is placed in the middle of a field of flowers.
It is also tied to my memories of walking through the village
to a neighboring one in search of household items. All the fabrics
I create carry within them this warmth and these memories of home.
By taking them with me, I realize that I can feel at peace anywhere
in the world — and I wish to share this feeling with those around me.
Bogdan Kravtsov
/ Borsch with Sour Cream, 2022
From the series: Ukrainian-Georgian Dictionary
Ready-made
4 × 4 cm
Edition: 1/1
Price: €1400
Bogdan Kravtsov, Борщ
Borsch with Sour Cream
I spent my childhood in the city of Svatove in eastern Ukraine,
my father lives near Kupiansk, which was occupied by Russian troops on February 27th.
That's why I left Russia immediately after the war began and settled
in Tbilisi. Georgians openly support Ukraine. This includes numerous Ukrainian flags on houses, inscriptions on walls, screens in transport, badges and ribbons on clothing, fundraising and demonstrations.
And in my series Ukrainian-Georgian Dictionary, I collect popular symbols of Ukrainian culture that I notice in Georgia on everyday objects, on product packaging, and on randomly found things.
This painting is cut out from a milk carton.
Sunlit still life, 2024
oil on canvas
40 × 30 cm
Edition: 1/1
Price: €800
Elena Taranenko
Elena Taranenko, Sunlit still life
This still life is part of the Breakfasts series. After moving to Amsterdam following the beginning of the war, I turned to drawing
as a way to ground myself in the present and make sense
of my new surroundings. These breakfast scenes became
more than observations — they transformed into anchor points,
small acts of belonging that helped create a sense of home in exile.
Through everyday details and cultural context, the ordinary becomes
a bridge: between the life left behind and the life being built anew, between displacement and arrival.
Elena Yakimushkina
Thoughts in My Head - Object #1, 2025
From the series: Thoughts in My Head
stoneware, glazes, threads
20 × 23 × 23 cm
Edition: 1/1
Price: €820
Elena Yakimushkina,
Thoughts in My Head - Object #2
Thoughts in My Head is a series of sculptural objects exploring internal states: anxiety, apathy, emotional overload, and the process
of reassembling oneself. I work with contrasts of textures, color,
and volume, using ceramics, threads, wool, and metal
— to visualize what often remains inside.
This piece explores a state of mental overload and anxiety. Red, black, green, and yellow threads stretch across an open ceramic form, representing tangled and conflicting thoughts. The work invites
the viewer to look inside - into a controlled chaos.
Thoughts in My Head - Object #2, 2025
From the series:Thoughts in My Head
stoneware, glazes, metal wire, threads, metal mesh, raw wool
22 × 25 × 22 cm
Edition: 1/1
Price: €880
Elena Yakimushkina
Elena Yakimushkina,
Thoughts in My Head - Object #2
This piece explores a state of mental fog and emotional heaviness.
Wool-covered thread and wire spheres fill an open ceramic form,
representing diffused and weighty thoughts. Muted greys
dominate, interrupted by vivid red and neon green — like sudden
intrusions into an otherwise clouded mind.
Thoughts in My Head - Object #3, 2025
From the series: Thoughts in My Head
stoneware, glazes, metal wire
17 × 35 × 23 cm
Edition: 1/1
Price: €1680
Elena Yakimushkina
Elena Yakimushkina,
Thoughts in My Head - Object #3
This piece reflects a state of reaching a breaking point and quiet
repair. A ceramic form, broken into fragments and held together
with metal wire, evokes the sensation of mental overload
and the fragile process of reassembling oneself - piece by piece.
Elena Yakimushkina
Thoughts in My Head - Object #4, 2025
From the series Thoughts in My Head
porcelain, stoneware, pigment
13 × 32 × 31 cm
Edition: 1/1
Price: €1960
Elena Yakimushkina,
Thoughts in My Head - Object #4
This piece explores the emotional weight of constant media noise
and global events. Pressed down by layers of information,
the form sinks slightly - yet carries on.
Garlands of Our Courtyard, 2022
oil on canvas
30 × 25 cm
Edition: 1/1
Price: €680
Galina Ageeva
Galina Ageeva , Garlands of Our Courtyard
Whether in Armenia or Georgia, where we found ourselves
in emigration, this is a scene in every courtyard—garlands reaching
up to the heavens. Even though we were left without a homeland, without a flag: we see those flags of purity flutter everywhere.
Price: €1900
Barfly, 2022
acrylic, ink on canvas
100 × 70 cm
Edition: 1/1
Gopal Muni
Gopal Muni, Barfly
Spending evenings at my friends' bar, not knowing where to go,
not knowing what to expect, in complete uncertainty, I began
to perceive a certain outline of the visitors to the Yerevan bar Tuf.
The bar's guests were a peculiar cross-section of 2022 — emigrants, activists, and refugees fleeing war and repression, musicians
and simply locals drawn to the dim light of a space free
from all hardships. Here I tried to capture the image
of those many people who came to this place daily.
Behind each one was their own story — for some, pain; for others, joy. Each tried to quench their loneliness and the shared tragedy
in their own way: some in a glass, some in conversation, some in music. I painted it right there. For a long time, it [the bar] gave refuge
to many wanderers, like a crossroads in an oasis.
Herbarium VII (Panda), 2018
plate lithography, silkscreen
unframed 64 × 48 cm, framed 80x60
Edition: 1/50
Price: €700
Igor Ost
Igor Ost, Herbarium VII (Panda)
This work is part of the "Herbarium" project, created using a complex printing technique during a creative expedition to China.
I draw upon the aesthetics of 17th–18th century Flemish Vanitas still life and the tradition of herbarium albums. Classical elements—flowers, fruits, skulls—are mixed with symbols of contemporary mass culture, creating a collision between the natural and the human.
Somewhere in the depths of the foliage, we see the skull of an old bear, but a panda, tenderly embracing a plastic toy horse, slowly rocks
in its psychedelic dream, completely unaware of it.
Today, 2011
photo on canvas, acrylic paint, 5 holes
45 × 70 cm
Edition: 1/1
Price: €1500
Julia Winter
Julia Winter, Today
Two young sailors — friends, comrades — captured in a vintage photograph from a family archive. Their faces, once vivid,
are now pierced by five violent holes. Blue paint streaks across
the image like waves, censorship, or memory itself trying
to erase what cannot be forgotten.
This work asks: What happened to them? What imprint did their time
in the Navy leave on their lives? The intervention is not destruction,
but inquiry — a gesture of mourning, resistance, and transformation. The word “МОРФЛОТ” remains, a trace of system and service,
while identity dissolves into absence. In this void, the viewer
is invited to imagine, to remember, to question.
Throughout Julia Winter’s practice, the hidden or damaged face recurs as a metaphor for survival under systems of control
— a way to preserve one’s humanity while concealing it from view.
Here, the act of erasure becomes both an elegy and a quiet rebellion
— a means of holding on to what history tries to forget.
Grounded, 2023
mixed media: acrylic and collage
90 × 90 cm
Edition: 1/1
Price: €800
Becoming
Margarita Yago
Margarita Yago, Becoming Grounded
I was born and raised in Russia and moved to Israel in 2018,
before settling in Amsterdam, where I currently live and work.
In this work, I tried to express the inner chaos that came
from witnessing wars in both of my homelands, Russia and Israel.
It is a reflection of my struggle to find balance while growing new roots in a world that feels unsteady.
Marina Wittemann
After the Black Square, 2025
recycled newspapers, acrylic, water-based fixatives,
wood on metal grid
108 × 108 × 10 cm
Edition: 1/1
Price: €4500
Marina Wittemann,
After the Black Square
This work draws a direct line from Kazimir Malevich’s Black Square
to the world we live in today. Malevich was born in Ukraine,
a place now under attack, not only by weapons, but by words. Propaganda spreads like ink through the paper. What was once
a symbol of radical freedom now feels strangely close to silence.
This “square” is made of crumpled newspapers, fragile, seductive, dangerous. It’s beautiful from afar, almost comforting. But come closer: the folds hide language, distortion, control. Truth is there, but bent
and bruised.
It’s not only about war. It’s about how beauty can become a mask. About what we feel before we understand. And what we see,
or refuse to see, after the black square.
Selves, 2023
oil on canvas
100 × 100 cm
Edition: 1/1
Price: €1400
Milada Kopeliovich
Milada Kopeliovich, Selves
A solitary figure among faceless mannequins — that's me.
Yes, it resembles an obscene meme. But disorientation, feeling lost,
the emotional weight of relocation, constantly reassembling
your identity, starting over in your 30s — all of this can really
fuck you up.
I still feel myself in a liminal space — neither here nor there.
I hold a flower as a symbol of hope for something yet to be found.
No cure for a headache, 2025
mixed media, acrylic, thread, varnish on cotton canvas
100 × 80 cm
Edition: 1/1
Price: €2800
Natallia Kasaverskaya
Natallia Kasaverskaya, No cure for a headache
The painting conveys the idea that power, status, or wealth do not free a person from suffering, anxiety, and inner conflicts. This internal struggle can be seen as a form of internal emigration — an attempt
to find new ground and reconcile with oneself within a reality
that offers no external solutions.
Natalya Radünz
Dialogue, 2025
mixed media: acrylic, acrylic markers, reflective microparticles, printed
background on Hahnemühle fine art paper, mounted on aluminum Dibond
70 × 50 cm
Edition: 1/1
Price: €2500
Natalya Radünz, Dialogue
This work embodies a dialogue of opposites — a dynamic interplay reminiscent of neural connections generated by the nervous system. Black and white intertwine in a delicate balance, echoing duality
and unity. On closer inspection, the neural-like structures shimmer
with subtle iridescent hues, revealed by a special coating.
Dialogue invites viewers to reflect on the invisible conversations
within and between us, mirroring the core themes of Echoes of Infinity: the fluid transitions between opposites and the search for harmony
at the threshold of perception.
Edition: 1/1
Price: €480
Wave, 2025
acrylic, canvas
78 × 58 cm
Oleksandra Horscroft
Oleksandra Horscroft, Wave
The artist captures an ocean wave at the very peak of its rise
— a moment suspended between gathering momentum and breaking into transformation. Working in a dynamic impressionistic style
with impasto brushstrokes and a rich palette of turquoise, blue,
and white, the painting expresses both the power and beauty
of water in motion.
This wave becomes a metaphor for the experience of arrival:
the liminal state between departure and landing, neither here nor there. The contrast between foamy spray and deep marine hues mirrors
the tension of crossing — the energy required to traverse uncertain waters toward new shores. Seagulls in flight above suggest freedom and the promise of home beyond the horizon. The texture and vibrancy evoke both the turbulence of the journey and the tranquility of finding solid ground once more.
Home, 2025
Textiles, thread, hand embroidery
50x110
Edition: 1/1
Price: €2000
olo.olooloolo
olo.olooloolo, Home
«A lost burned house reflected in the river with floor blood»
The dense red silhouette of the House turns into long threads flowing downward, as if reflected in a river that blurs its outline and carries away its warmth and support.
The image of loss - the moment when a familiar place disappears, leaving behind only memories.
The embroidery is made on a white table cloth - a symbol of home comfort. Here it becomes a background for the disappearing house, reminding that not only the roof over the head is lost,
but also the atmosphere, which cannot be returned in its entirety.
Sergei Mongayt
Regrowth, 2025
installation, photo documentation
Edition: 1/50
Price: €150
Sergei Mongayt, Regrowth
Beginning is not only a kind of action. It is also a frame of mind, a kind of work, an attitude, a consciousness.
Edward W. Said
We lost our roots and our soil. But we carried the seeds of our identity with us and are now sprouting them again in the soil of another culture.
Skis, 2022
stainless steel
100 × 60 × 16 cm
Edition: 1/1
Price: €3850
Sergey Karev
Sergey Karev, Skis
Skis that have taken root — a metaphor for the tension between escape and belonging, movement and stillness, the organic
and the necessity of making decisions.
Homesickness takes root and prevents movement; it is natural.
But once displaced, you search within yourself for the strength
to put down new roots. Having severed them once,
it becomes difficult to grow them again.
The Three of Us, 2025
From the project: The Three of Us
stereo-vario print
59 × 42 cm
Edition: 1/1
Price: €1100
Sveta Kaverina
Sveta Kaverina, The Three of Us
This project grows out of a real but often overlooked facet
of Soviet history: the belief that death could be conquered.
After the 1917 Revolution, some Bolsheviks dreamed not only
of a new society, but of a new humanity — one liberated from aging, illness, and mortality. Scientific texts speculated seriously about resurrecting the dead and engineering eternal life.
The mockumentary imagines a world in which one Soviet immortality experiment quietly succeeded. Its outcome was not a reborn Lenin,
as intended, but three cloned girls, disoriented, unclaimed, and uncertain of their place in a world they were never meant to inherit.
The project draws on the biography of the artist: born in the USSR, shaped by its collapse, and repeatedly redefined through successive emigrations. Each move produced a new version of the self
— split, translated, and partially erased. The three clones
become both fictional characters and living metaphors for fractured identity, the afterlife of ideologies, and the instability of belonging.
La Adoración, 2025
Oil on canvas
106x106cm
Edition: 1/1
Price: €4900
Tamara Pashutkin
Tamara Pashutkin, La Adoración
The work "La Adoración" is a direct reference to Spanish artist Francisco de Zurbarán's "Adoración de los pastores", interpreted through the lens of art history and the representation of women in it,
as well as the artist's own bodily experience and experience
of migration.
Couch 00001, 2024
From the series: Couch Searching
photo print on a backlit foil, hand-painted lightbox
40x60cm (45x65cm framed)
Edition: 1/1
Price: €250
Tatiana Bulanova
Tatiana Bulanova, Couch 00001
Project description: "Couch Searching" is a personal
take on the theme of immigration, finding a new home and loneliness
in a big city. At the same time it's a celebration of a long-lasting Berlin tradition of giving one's stuff away, also known as "Zu verschenken'' (German "To give away for free"). One encounters the following scene quite often: an abandoned sofa right in the middle of the street, evicted from the heavens of someone's home's comfort and brought into
the hostile environment of the city.
The set of 24 photos was assembled from 2021 to 2024
and has inevitably gained some conceptual weight, since
I chose one object and aimed at capturing it in its different variations and in all four seasons. An old cheap analog camera was used
to make the process of gathering the material more true to the subject. To address the dual nature of the images I've added the frames
and decorations that are usually associated with luxury. By doing so,
I show that, when placed in the urban landscape, a simple everyday object acquires some novel unique connotations and provokes
a complex emotional response.
The Grumpy Heroine
The Feeling of the Past Calling, 2023
From the project: I, Superhero
gallery Matt print
40x60 cm
Price: €450
