Memories do not always return as clear images. Sometimes they remain as a vague impression, sometimes as a strong feeling – but over time, they begin to fade. In her minimalist, material-driven paintings, France-based artist Ekaterina Galera explores the surface as a place of memory. Born and raised in Siberia near the Mongolian border, the landscape of vast steppes, pale horizons and muted light of her homeland continues to inform the restrained color palette of her works.
Subtle horizontal lines and dark traces characterize her quiet compositions, while their reduced appearance still conveys a strong physical presence. Her process is slow and repetitive: she builds up layers of pigment and gesso, often mixed with marble powder, applies dense masses of charcoal and then sands them back – repeating this cycle several times. Earlier decisions remain visible, giving the paintings the quality of accumulated traces.
Ekaterina Galera’s works draw the viewer into a subtle space between presence and disappearance. They seem to hold on to something just beyond recognition – much like a memory that is fading but has not yet completely disappeared. To get to know her and her practice a little better, I had the pleasure of asking Ekaterina three questions:
Ekaterina, what inspired you to become an artist, and how has your artistic expression evolved since then?
I have always been drawn to spaces rather than objects. Over time, my work moved from more expressive abstraction toward structure and restraint. I became less interested in gesture for its own sake and more focused on weight, balance and presence. Today my practice is increasingly architectural and meditative.
How would you describe your work to someone who has never seen it, and what do you hope viewers take away from it?
It is like encountering a wall that has lived a life. There may be no explicit narrative, but there is duration. I hope viewers experience a slowing down — a moment of attention rather than consumption.
What are you currently working on and what are your plans for the future? Are there any subjects that you would like to explore further?
I am developing a cohesive series focused on surfaces as structures of silence, working on larger formats and refining my material language. In the future, I would like to explore scale further, including spatial installation and the relationship between painting and architectural space.
Over time, my work moved from more expressive abstraction toward structure and restraint.
