Anastasia Samoylova (born in Moscow in 1984; lives in Miami) moves between observational photography, studio practice and installation. Famous for her FloodZone, an expansive photographic project that began in 2016 reflecting and responding to the problem of rising sea levels through a striking case study of Miami. In 2020, Anastasia Samoylova had her first solo museum exhibition with FloodZone at USF Contemporary Art Museum, Tampa (Florida, US). With over 80 photographs, the book of the project was published by Steidl in 2019. In 2018 Samoylova was awarded a number of grants for FloodZone, including the South Arts Fellowship and Michael P. Smith Fund for Documentary Photography.
In 2021, Samoylova’s work is shown at Musée des beaux-arts du Locle (CH), Orlando Museum of Art (US), Museum Helmond (NL), The Multimedia Art Museum (RU), The Print Center Philadelphia (US), Chrysler Art Museum (US), HistoryMiami Museum (US), Unseen Amsterdam and Paris Photo. She has exhibited at the Wilhelm-Hack-Museum, Ludwigshafen and the Kunsthalle Mannheim, Germany; and as part of the Biennale für aktuelle Fotografie. Recent exhibitions include Kunst Haus Wien, Vienna; Perez Art Museum Miami, Museum of Contemporary Photography Chicago, Purdue University, Milwaukee Institute of Art and Design, Griffin Museum of Photography, Aperture Foundation New York, Currents New Media Santa Fe, Julie Saul Gallery New York, as well as numerous festivals in Brazil, Belgium, France, Israel, Netherlands, China, and South Korea. Her work is included in the collection of Pérez Art Museum Miami and Museum of Contemporary Photography Chicago, Art Slant Collection in Paris and a number of other corporate and private art collections.
Floridas (2021) is a layered portrait of contemporary Florida that establishes a dialogue with the oeuvre of Walker Evans, employing a language similar to his detached and laconic imagery. A logical follow-up to her FloodZone, Floridas zooms into the state and shows Florida as a condensed version of the whole US while maintaining an outsider’s perspective. With her vivid bright images and sharp juxtapositions, she offers a test for endurance to the iconic American narratives of the American Dream. Made through a series of wandering road trips, a traditionally male-dominated genre within American photography. Anastasia expands this field with a female perspective. For more about Floridas, click here
FloodZone (2019) is a photographic account of life on the climatic knife-edge of the southern United States. Sea levels are rising and hurricanes threaten, but this is not a visualisation of disaster or catastrophe. Samoylova’s beautifully subtle and often unsettling images capture the mood of waiting. The colour palette is tropical: lush greens, azure blues, pastel pinks. But the mood is pensive and melancholy. As new luxury high-rises soar, their foundations are in the water. Crumbling walls carry images of tourist paradise. Water is everywhere and water is the problem. Mixing lyric documentary, gently staged photos and epic aerial vistas, FloodZone crosses boundaries to express the deep contradictions of the place. For more about FloodZone, click here
Samoylova’s earlier body of work, Landscape Sublime, explores how social-media images and the repetition of certain motifs informed an understanding of natural phenomena. In recent years, the project has been frequently commissioned as large-scale public art installations as well as shown in a number of solo and group exhibitions.
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