Lisitsyna Marina Yuryevna
Born on December 21, 1947 in Moscow.
In 1975, she graduated from the Moscow Higher School of Art and Industry named after S.G. Stroganov.
Since 1975, she has worked as an artist at the Lytkarino Optical Glass Factory.
Works in collections
Her works are held in the All-Russian Museum of Decorative, Applied and Folk Art,
Ministry of Culture of Russia in Moscow,
Sergiev Posad State History and Art Museum-Reserve,
Tyumen Art Museum,
and also in private collections.
Exhibitions and auctions
1976 Youth of Russia. Moscow;
1978 Autumn Exhibition. House of Artists on Kuznetsky Most. Moscow;
1979 Blue Roads. Central Exhibition Hall "Manege". Moscow;
1979 Moscow and Muscovites. Moscow;
1980 Debut. All-Russian Theater Society. Moscow;
1980 Mono-textile and Glass. House of Artists on Kuznetsky Most. Moscow;
1983 Man and His World. Canada;
1988 Country of the Soviets. Central House of Artists. Moscow;
1988 Artists to the People. Central House of Artists. Moscow and GDR;
1991 To the Stars. Central House of Artists. Moscow;
1991 Exhibition of Soviet Glass Artists. Glasi Gallery. Stockholm. Sweden;
1992 1st exhibition of "STANBET" gallery. Exhibition and Auctions Directorate Hall of the International Culture Foundation. Moscow.
Author about himself
It is impossible to predict a viewer's associations—that is one of the mysteries of optical glass. Its emotional impact is unpredictable... This work, indeed, is as captivating as it is labor-intensive. Optical glass is subjected only to cold working, and it must be ground and polished by hand. When conceiving a composition, you do not always achieve what you strive for, since effects in optical glass are extraordinarily diverse.
To command a material that refracts and reflects space—this to me resembles the dream of mastering the elements, my work is my flight of Icarus...
Critic
Many of M. Lisitsyna's works have quite specific titles: "Planetarium," "Coliseum," but this does not mean their images are illustrative. Rather, the title is the theme upon which the artist fantasizes. The viewer also fantasizes, peering into the depth of the glass mass's facets, where unreal reflections shrink to the size of a point, then are repeatedly multiplied in numerous lenses.
The author does not impose a single interpretation on the viewer, allowing for an independent search for figurative associations.
O. Voeykova
Bibliography
"Through the Facets of Glass," Moskovsky Komsomolets, December 8, 1982;
"On the Modern Concept of Space," Tekhnicheskaya Estetika (Technical Aesthetics), N11, 1982, p.17;
"Embracing Space," Stroitel’naya Gazeta, March 18, 1983;
"Art" magazine N3, 1983, pp. 76-78;
"Games with Space," Moskovskie Novosti, February 19, 1984;
"Optical Sculpture—Palace of a Sunbeam," Kommerchesky Vestnik, N5, 1983, p.18;
"Optical Glass," Decorative Art magazine, N5, 1983, p.47;
"Sky’s Space, the Stream’s Purity," Sel’skoye Khozyaystvo Nechernozem’ya, N5, 1984;
Leninskoye Znamya, October 21, 1985;
"Thanks to the Artists," Moskovsky Khudozhnik, July 18, 1986;
"Flight of Fantasy, Reflected in Glass," Sovetskaya Kultura, November 10, 1990;
Gallery "STANBET" brochure, 1992, Moscow.
Works 9
