What appears on screen: a toy fit for a child’s hand—reveals its disorienting nature through its measurement, and gains momentum with the staggering title: 'Domestic Animal'.
Daria Barkova presents artworks which’s materiality could arguably categorise as most-effectively-exhibited-in-physical-spaces. Paradoxically, additional connotations are exclusively accessible online, granting ‘Domestic Animal’ an independent introduction.
The comforting initial impression of warm tones and soft bed sheets, stands in shocking contrast to the humanlike-figure’s decapitation: simulating a regular polo neck, snugly deceitful until it cuts to sharp end—erasing identification. Attention targets the most sexualised-, and gendered body parts: adorned-, or infected by pearlescent beads. A chain circles a ring finger—alluding to vows, and raising questions of further distorted perspectives for audiences with no reference of telling reality and digital mirrors apart. Torso features a small button, as if referring to practical functionalities—returning to associations of easily handled toys.
This sculpture-creature inquires: an existence of its own with perfect imperfections and valued treasures; whilst simultaneously being subject to others’ sexual externalisation and objectification.
Barkova’s ‘Domestic Animal’ highlights the intrusion that slithers inside through disguise; mercilessly transforming-, and forcefully reducing to domesticated playthings.
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