Sometimes, one’s perception of reality can be expanded on through limiting perspective. Previously invisible factors and nuances are revealed through the omission of others, and the holistic perspective is deeper understood. In an increasingly overstimulating world overrun with simulation, the value of this process is obvious. Photography removes the passage of time from our perception, as well as the parallax that complicates reality through introducing multiple spatial perspectives. It gives us the power to control instantaneous perspective and force reflection on it. In the first major exhibition survey of her work, Anastasia Samoylova’s ‘Adaptation’ at Saatchi Gallery utilizes the aforementioned qualities of photography to examine multiple themes including climate change, the impacts of capitalism, and the societal qualities revealed by public space and its occupants.
Samoylova’s thorough understanding of her chosen medium is reflected very well in the show, with works evolving from explorative mixed media pieces and conceptual set photography, to more traditional street and aerial photography as the show progresses. Curated by Taous Dahmani, the survey effectively highlights the consistencies in what Samoylova’s perceptive eye captures, cultivating an overall impression of the photographer that leaves the viewer confident in recognising her work.
The exhibit opens with a selection of images that bring awareness to Samoylova’s creative process and perceived uses of photography. Accompanied by a time-lapse of the construction of Landscape Sublime, room one highlights the importance of understanding Samoylova’s process to contextualize the subsequent works within her unique approach. In Landscape Sublime Samoylova explores nature’s idealized portrayal through constructed, ideological landscapes that border on the absurd. By using open-source images and exaggerated reflections, she draws attention to photography’s duality as a tool for both representation and distortion. By photographing real, physical compositions of images, she suggests a world progressively mediated by imagery—a layered hyperreality that questions our expectations of nature and wilderness. These expectations are challenged as the show progresses.
In a series of images from Breakfasts, food items are composed atop open photography books, featuring the work of notable inspirations to Samoylova, such as Walker Evans and Barbara Kasten. Their influence can be seen later on in the exhibit and the series is a great visualization of how passion bleeds into an artist’s everyday life. The far wall is mounted with ‘Biscane Bay’ (2018) nd ‘Six Real Matterhorns’ (2015). Without explaining them in detail, as the wall text does brilliantly, these two works consolidate the most important elements of Samoylova’s work – “composition and illusion”. I found the minimal display here to be quite assertive and reassuring of Taus Dahmani’s highly informed curation.
Through an opening that leads to room two, a wall-sized, underwater image of a swimming alligator’s lower body can be seen. This effectively draws the viewer in to investigate what theme this image could relate to, and with it crowding my peripheral, I found myself impatient to move on from room one. Made across the states of Florida, Georgia and Louisiana, Floodzone is a series that exposes infrastructure that is insufficient for dealing with the dominant natural forces of these southern states. Aerial photography of flooded residential areas brings a new perspective to nature’s power, suggesting the perspective humans lack to adapt to natural forces. Documenting destruction like this alludes to a theme of powerlessness felt by humanity, not only to nature but to our own self destruction. ‘Concrete erosion’ encapsulates the title of the show for me, with its focus on the ability of nature to adapt to human impact, and the downfalls of design fuelled by simple functionality and disregard for sustainability.
Room three presents Floridas, thematically synergising with Floodzone, with a shifted focus to the weathered Floridian urban landscape that conceals dysfunction through its overshadowing facade. There is a comical aspect to the documented destruction of such landscapes and expendable consumerist items, perhaps because of the pride and ignorance exuded by such excessive, kitschy design. ‘Blue Velvet Chair’ (2020) shows a chair, surrounded by algae, floating in floodwaters that reflect a bright pink building facade in the background. Flashy storefronts, idealized construction billboards, and capturing of printed images on the street suggesting simulated reality make up the rest of the series. The investigation into contradictions and concealment of truth reflected in Samoylova’s vision speaks to her previously constructed metaphors for such themes in Landscape Sublime. ‘Condo reflection at king tide, Hollywood’ (2019) stands out as perhaps my favorite image of the show. It shows a wind rippled puddle reflecting a Floridian art deco condo against an overcast sky, with the forms of the building strangely aligning with the waterlogged grass surrounding the puddle. The wind that distorts the surface of the water lends that distortion to the building through reflection. Through crystallization of a very dynamic moment like a building reflecting off water ripples, the viewer is given the opportunity to reflect on a moment that is usually very fleeting in our perpetual presentism. The image is a great example of how Samoylova limits perspective to create a new narrative about a subject, in this case the contrasts and similarities of man and nature.
The final room consists of the most conceptually dense and widely relatable work in the show. As the curatorial text reads, the series is an investigation of “polluting capitalist visual culture” inspired by the 1967 French film ‘Playtime’ by Jaques Tati. The lack of diversity in image aesthetics, despite being shot internationally over seventeen different locations, alludes to the globalization of visual culture worldwide and the late stage evolution of consumer interests into culture. Samoylova’s continued use of reflections throughout the series, suggests the dissonance present constantly in the saturation of images on the streets and in our minds. ‘Peeling posters, los angeles’(2022) literally reflects failed attempts at perfection, and deterioration of illusion onset by environmental impact. ‘Printed building cover, Moscow’ (2021) is a depiction of illusory progress. Showing decorative covering of scaffolding contrasting with a man walking into the building, it captures the prideful presentation of an idealistic future project, exposing society’s fixation with perceived rather than proven progress. In ‘Beauty salon, Milan’ (2022), an elderly woman with beautifying curling rollers drags a cigarette while staring into the distance, unknowingly stepping in front of a huge billboard of a supermodel. I found this image particularly loaded because it reflects ways of coping with the desires constructed for us by the hyperreal, whether or not we are aware of our free will to resist them. There is immense depth in this series, and overall it shows Samoylova’s patience in waiting for narratives, relevant to her intentions as a photographer, to appear in her environment as she peers through her analytical lens. It also contains some of the best compositions in the show extracted from the minimal geometric design of modern cities.
In conclusion, Samoylova’s progression from controlled, mixed-media compositions to more spontaneous, observational photography mirrors the exhibition’s thematic evolution, from constructed critiques of idealization to raw portrayals of reality that reflect that idealization. The exhibition challenges us to reflect on how the images around us influence our understanding, both of nature and of ourselves, in a world where reality is increasingly shaped by simulation. It should also be said that regardless of the conceptual curation and themes present in the show, all the displayed images are visual spectacles in their own right through their vivid colours and masterful composition. Any kind of image maker would very likely be inspired in their own way after a visit.
A ticket to ‘Adaptation’ includes entry to two other exhibitions at Saatchi, running concurrently. ‘As We Rise: Photography from the Black Atlantic’ is a selection of works from the Wedge collection, curated by Elliot Ramsey. It provides an informative depiction of African diasporic culture and Black life, categorizing work into themes of community, identity and power, accompanied by detailed descriptions and curatorial texts. Aneesa Dawoojee’s ‘March of The Hummingbirds’ explores UK migrant history, with a focus on the Caribbean and Mauritius, through portrait photography and installation. The show encourages trust and understanding amongst cultures to foster community spirit and shed light on lesser known stories of immigration.
Review by Chris Wieland
Featured Image-Cities – Beauty Salon – Milan 2022
For information and tickets visit www.saatchigallery.com
Read Chris Wieland’s latest Review: Critical Edge Collective’s ‘From the Ground Up’: Investigating knowledge in the post truth era through collaborative art – at Lewisham Arthouse, October 2024 – Abundant Art
