*Flomo- is from the Russian/Ukrainian word flomaster – marker.
Marker sketches that Kadyrova has been doing for many years, it’s hard to call an artistic project or series, as such terminology implies a certain thematic message and preconceived implementation strategy. Rather, the marker sketches show a process of artistic thinking, a working method of translating the surrounding three-dimensional world into its two-dimensional representation on a sheet of paper.
Kadyrova draws constantly and everywhere – she always has a small sketchbook and a couple of markers on hand. Transient forms, fleeting impressions, transitory thoughts settle on the paper in signs often understood only by the artist. This transformation of information is magic, mental alchemy, where the boundless world with all its potentiality of forms, patterns, smells and sounds is reduced to signs on a white page. Kadyrova practices stenography, using her own personal visual vocabulary, collecting
a bank of images from which she later creates studied visual texts. Each of the projects in this book begins with these sketches, since the evolution of all the works can be traced back to the starting point of their conception – a small sketch in one of the artist’s innumerable notebooks.
Yet by calling her drawings “flomorealism,” Kadyrova is not drawing on realism as an artistic method in its classical understanding, based on certain rules of linear perspective and verisimilitude through color illusions. The sketches often depict the realities of life, gradually disappearing into nonexistence: local cafes already passed into oblivion; village landscapes caught from a train window, unlikely to be found again; portraits of friends, some of whom are no longer with us. Flomorealism – as the imprint of life’s passing moments – is an archive of already nonexistent reality with its elusive beauty; it is no longer available in its entirety, but it can still be remembered by looking at the kaleidoscopic fragments of actuality captured by the artist.