About
Victoria Reshetnikov (b. 2002, Queens, NY) is a first-generation Russian-American and New York-based artist working through interdisciplinary methods of making and research that center design, architecture, and miniature in relation to New York City. They graduated from Columbia University with Bachelor's degrees in Art History and Visual Arts in 2024, completing a research project on the 1964-65 New York World's Fair culminating in the book Queens: Your Time is Infinite. They have completed residencies at the Lower East Side Printshop and A Space Gallery. They recently had their first two-person show at theNextWave Gallery. Their work has been featured by the Disengineering Society, Journal of Art Criticism, and Field Projects, and has been exhibited in group shows at Living Skin, Malenka Room, A Space Gallery, NYC Culture Club, Vanda Gallery, and Moshava Gallery. They are the Creative Director of IMPULSE Magazine.
Contact: vilinda789@gmail.com
Artist's Statement
Who gets to be a designer? In the United States, design is increasingly accessible, through DIY culture, bootleggable digital software, dollar-store hammers, and online printing services. Simultaneously, the proliferation of goods is increasing; under American capitalism, objects no longer exist to be functional, but only to perpetuate an economic system. Art, while historically a recording device and political tool, has also been absorbed and circulated as a consumer object. As a first-generation American with familial roots in the Soviet Union, I’ve always felt a tension between object-making, history, and truth. Living at an economic turning point as a child of immigrants, confronted with the physical and emotional debris of the Cold War and the obsolescence of object-making, my practice positions itself at the end of progress.
Through printmaking, sculpture, drawing, and photography, I’m developing an image-making procedure that draws on local visual languages in Queens, where I was raised. I prod at the construction of American-ness in my own family and across other immigrant communities, specifically through the creation and cultivation of objects. Design history, specifically told through world fairs, acts as my work’s historical framework, particularly the legacy of design ideology, nation-building, monuments, and the construction of public space.