Bringing up issues concerning the connection amongst reality and its picture, Russian-conceived Ivan Pushkin reports how innovation has ramified our perceptual limits. Working at the junction of conventional photography and computerized media, he indicates how our impression of the truth are sifted by authentic states of mind—constant suspicions and examples of conduct that are reflected in a social inheritance of signs and images.
Pushkin follows out the development of verifiable experience as it turns into an imaged minute intertwining both individual and political legends. His photo Vodokreschi (Baptism of the Lord) gives a splendid occasion of this, featuring his peculiarly equivocal comical inclination. Envisioning a bitingly cool winter play area, what emerges at the photo's inside is a white stone cross, which is arranged toward the finish of an unassumingly estimated bowl. While safeguarding its religious and ceremonial capacity, the bowl has regardless been co-settled on swimming instead of any religious reason. Fundamental to this photo are the two individuals holding computerized cameras that catch this energetic allotment of generally holy water, recommending an absolution by the light of an advanced screen as opposed to blessed fire.