SILENCING THE CACOPHONY 

2015, Acrylic, spray paint, oil, vinyl, marker on linen, grommets, rope, burlap and sand from Coney Island.
Canvas: 69 x 161 in. / 175.26 x 408.9 cm. Overall: 110 x 417 1/2 in. / 279.4 x 1060.45 cm.

Exhibited at Kent Fine Art, New York, The Ukrainian Museum, NYC, Ukrainian Institute of Modern Art, Chicago IL.

 
 

 

 Under Progress,

2014, Acrylic and chalk on 4 walls, 176ft apx

Mural commissioned by Facebook HQ Artist-in Residence Program, Menlo Park, California

Read Artsy Article Here

 

Reversion

2013, Site-specific wall drawing & installation Chalk, acrylic, suspended lens and salt forms

Redux Contemporary Art Center, Charleston, South Carolina

 

Goog Song

2013, Acrylic on wall, Dimensions variable

Corporate Collection of Search Engine Co. Mountain View, California

 

Stilted

2013, Acrylic on plywood, 24 x 12 ft

Commissioned by True/False Film Festival :Architecture of the Impossible

Columbia, MO

 

Momentary Lifetime

2011, Charcoal, Mica and Acrylic on wall


Global Utopias of Futures Past

2011, Paint, chalk, cord and bulb, 18 x 22 feet

created for "Heretical Hierarchy" Exhibition curated by Xiaoze Xia (January - February, 2011)

Thomas Welton Stanford Art Gallery, Stanford University

 
 

The Long Embrace of the Vast Black Horizon, (Burden Road)

2013, Acrylic on canvas, 60 x 180 inches

Private Collection of Industry Capital

 

Million Golden Children

2010, Charcoal on sheet rock wall, 14 x 45 feet

Alphonse Berber Gallery, Berkeley, California

In this project a large scale drawing is created directly on the wall. The artist is left to negotiate the vertical space while drawing an image with charcoal and ink. The action of drawing with the body on this grand scale, leaves intended and unintended marks. Leaving a trace of physical presence, which becomes an inherent part of the work. The image based upon this poem.

Wall drawing was on view at Alphonse Berber Gallery, in Berkeley, California. Created exclusively for the exhibition "Palm at the End of the Mind" on view from April 16th through May 30st, 2010. More Info

 
 

The Great Temple of Fallen Civilization

2009, Charcoal, ink, tape and climbing holds on wall, 40 x 17 feet

Permanent Installation at Warehouse 21, Railyard Art District, Santa Fe, New Mexico

The Great Temple of Fallen Civilization observes the urban structures of the 20th Century from a distant future gazing back at our moment in time. This drawing questions the validity of skyscraper architecture and the impetus for the ever-growing density and rigidity of the contemporary built environment. The work also questions the prevalence of this form of architecture in the deployment of future systems. I imagine a world of densely layered urban dwellings. Skyscrapers and labyrinths of tunnels fill this vision. This world is disconnected from nature and unaware of its ambient environment. Humans are stacked in layers, living atop one another in soaring structures. The aggregate map of their psychology is manifested in the form of their city... and then I imagine it destroyed.

 
 
 

A Desert Landscape for Paris

2009, Acrylic paint and mica pigment on wall, 3 x 9 meters

Sweeney's in 5arr, Paris, France

Photograph Credit: Cyril Masson of Studio White Paris ( www.cyrilmasson.com )

 

Captive Wall Drawing I

2007, Charcoal and tape on sheet rock, 8 x 10 feet 

Space II III IV, Highland Park, New Jersey

 

Thresholds: Shadow Self

33 reclaimed doors, 9 x 12 feet 

Alter Space Gallery, San Francisco, California

A site-specific installation created for the Jail Cell Residency at Alter Space gallery. The 3 month project-based residency takes place in the Alter Space basement, a dungeon-like environment that sits below Howard Street in the SOMA area of San Francisco. The 9′ x 12′ jail cell, located within a 22′ x 25′ room, is the most prominent remnant to be left behind by the BDSM store that previously occupied the building. Pinkusevich has embedded an architecturally scaled structure into the existing space that explores notions of shadow, light, barrier and threshold. Utilizing 33 reclaimed doors that she collected during her time at Recology (San Francisco Dump), this immersive environment aims to evoke personal inquiry and examination, prompting visitors to embark in an act of investigation as they navigate the maze-like arrangement through its series of doors.

Pinkusevich’s Thresholds is inspired by the Jungian philosophy of shadow, that which hides in the subconscious darkness of the human psyche. Even though the shadow exists in the psyche, waiting to reveal itself through human action, it seldom manifests in real life. This installation creates a dialogue with the body that is aimed at prompting a deeper awareness of the journey into one’s self, shining light on dark corners of the psyche while playing with the viewers perceptions of space.