Château Haut-Brisson – Irina Petrakova

Some critics classify her works within the realm of abstract expressionism, yet Irina Petrakova herself sees her style as an amalgamation of expressionism, hovering delicately between the abstract and the figurative. She rarely makes preliminary sketches and allows her imagination and creativity to intertwine freely, welcoming the “let the wonder happen” moments that arise in the process.

Trained as a graphic artist, Irina’s journey is one of continuous exploration and refinement. From her early days to her recent experiences, she has honed her skills through immersive programs such as of Salzburg summer academy or the Institute of Contemporary Art (ICA) and BAZA, Anatoly Osmolovsky’s Institute, in Moscow. Across various mediums including graphics, painting, sculpture, visual performance, and installations, she channels her emotions and experiences, transcending conventional boundaries with each stroke and form…in constant intellectual and conceptual research.

Her artistic evolution traces back to her early days at Moscow’s pioneering private contemporary art museum. There, she curated exhibitions showcasing emerging talents, gradually realizing her own calling to forge a path in the art world. Since stepping into the spotlight in 2015, she has amassed an impressive portfolio of solo and group exhibitions both at home and abroad.

This year will be marked with the unveiling of her latest solo exhibition, “The Production Glitch.” Featuring a series of graphic works, sculptures, and a video, the showcase promises to encapsulate her signature style while pushing the boundaries of artistic expression.

Beyond her artistic endeavours, Irina is passionate about education, teaching at a Montessori school and an independent art centre for adolescents “Cascade”.

Hailing from the magnificent region of Siberia, Irina Petrakova’s upbringing was steeped in the rich tapestry of ancient traditions and customs. This heritage endowed her with a profound affinity for craftsmanship and a unique perspective on the interconnectedness of the material world.

Despite never consciously seeking to emulate her ancestors’ skills, Irina’s innate connection to her familial lineage manifested unexpectedly. One day, she found herself drawn to the art of embroidery, only later discovering that her greatgrandmother had been a master of the craft. Harnessing both conventional and contemporary techniques, she imagined a project centred around this age-old art form, resulting in the renowned Adidas training pants adorned with delicate floral motifs.

Her artistic pursuits are driven not by commercial interests but by a desire to convey the essence of human sentiment through tangible forms. Her creations offer a visceral experience, serving as a material embodiment of profound emotions and timeless narratives.

Her residency at Chateau Haut-Brisson was not her first encounter with such an environment, yet it proved to be a highly inspiring experience. Entranced by the grandeur of Bordeaux’s architecture, she found inspiration in the whimsical allure of the monument aux Girondins, finding it “reasonably mad” and echoing her creative vision.

She entrusts in the enchantment of the setting. Consequently, Haut-Brisson unveiled a fresh spectrum of hues for her oil sticks, her preferred material since the pandemic. It was the moment when she took an unanticipated leap from graphics to painting that had previously lingered as her personal gray area—thus unveiling a remarkable sensitivity to colour.

Amidst leisurely bike rides through the countryside and moments of quiet contemplation the sight of infinity grape rows, a cherished indulgence of her day was observing the ceaseless race game of pigeons among the branches of a grand cedar tree.

Irina described Haut-Brisson as an utterly distinctive residence, where she relished unrestricted freedom to explore her creativity in myriad directions. She valued its serene and inviting ambiance, effortlessly conducive to moments of “microvipassana” meditation.