What is done out of love always takes place beyond good and evil.
Friedrich Nietzsche

"Beyond" is Albina Yaloza's most personal series. Looking back at her previous projects such as "Cult" (its objects were "fast-to-use" everyday things) or "Lost Paradise" (made of landscapes), one may notice a special place for a human being in her works. Its absence in her compositions meant addressing the spectator as a necessary additional element: let him reflect upon his relation to the world of things, let him find his place in a landscape.

However, this time the series is almost artist's personal matter. In reverse images of linocut she reconsiders her own relations with biblical motives. Prototypes for this series are new as well. It is neither about close outer existence, nor about fantasy of artist's imagination. These are real artifacts - sacred sculpture, mostly alienated from its place, broken, forgotten and left at the periphery by time itself. It is the sculpture that needs considerable research work.

Found, selected and photographed, borrowed from restorers and antique dealers, taken from Pavlo Gudimov's collection (some of them - from Igor Yanovych's project "Dialogue") etc. - all these prototypes have become details which the series consists of. Every statue, every wooden piece is a material witness of sacred presence - hand-made and at the same time bigger than this definition - participant of a life "beyond".

No doubt, this series could be a collection, a table of elements, or a certification grid. However, neither science nor passion to collect old things became here the main compositional core, but the texts. It is old, just like the history of art, artist's attention to original sources, supported by the reality of things that works for artistic "third sense".

Yaloza's interpretations are very close to gospels since they almost literally follow them. Holy communion divides Christ's corpus into body and blood ("Eucharist"). Dead alien metal nails are wandering within ten crucified wooden breast bones, nevertheless, they are moving because the body is alive ("Beyond"). Baptism in the Jordan (of course, according to the plot there was no "cross" yet) takes place on the abstract crossroad of waters, foreseeing Jesus' destiny. Meanwhile He is a part of a much more later scene ("Baptism").

First, the project's title appeared as a working one: it referred to a back side of antique angels ("Shroud"). Later title's meaning was enriched by one more direction - from the bottom upwards (and vice versa), from the earthly point of view to the heavenly, separately highlighted with divided two-color background ("Lord's Supper", "Pentecost", "Pieta"). An intention to glance at "the other side" has its metaphysical sense in both contexts: creation can be seen from all sides. If you expected to look at children's inspired faces, illuminated by divine light, and you see enumerated and faceless silhouettes instead - most likely you were lucky to find yourself on that "other side".

This is the project which Albina Yaloza made a short stop at. This unfinished project leads the artist forward, since the series is not a reflection of the author's point of view, but a stage of its formation during a vivid process of work - coexistence of an original text, sacral objects and printing techniques. And despite of a high level of personal content, a spectator has an opportunity to look into this process.

Borys Filonenko