By Michael Ghossainy
Religious allusion, subtle eroticism, and an undeniable sexual fluidity—Alina Karo tells a story of mankind’s demise and modern-day vice in her latest exhibition Vollipsis. But don’t take my word for it, read The Manifest. Res ipsa loquitur [the thing speaks for itself].
“How all the dreams have been conceived, then crushed, by the omniscient and the omnipotent Lord. The sins of present times are more than 7, they are about 7 billion and counting. With the eyes wide shut and the mouths wide open we are heading towards self-annihilation. We are not doing it on our hands and knees, nor on empty stomachs, but on high heels and diet dope. If we should ever be born again, it won’t be from ashes, but from nuclear waste and plastic bags. Amen!”
Shamelessly raw, the dark Manifest encompasses all that Karo attempts to convey in her art series, and while the photographic genius can be attributed to Karo’s vision, a great deal of the stunning execution is the effect of the six-foot tall porcelain statue, that is, Danila Polyakov. Inspired by the wildly eccentric model, Vollipsis’ Bacon-esque aesthetic was the perfect medium for this human canvas.
Read more in Veoir Issue 4.