Nataliya Chernakova’s practice is very versatile in regard to her multifaceted preferences. It encompasses painting, sculpture, video, online projects and installation.  

Chernakova's practice is rooted to autobiographical, sociological and psychological issues. Other than that artist' practice is dealing with the physical embodiment of memories; how the latter can be preserved. The practice thus becomes a diary, which talks about the current state, about the past and her childhood memories, or about the longings and aspirations, preoccupations about the future. Ideas of resentment, desire, and longing are central in her practice. This diary in the necessity to say, to remember or to forget, finds its physicality, where the recollection itself becomes the selector for the medium.

The artist is working in series. Behind every one of them lies a question she has been asking herself, investigating or obsessed by. In the "Midsummer Night Dream" series main question behind is one of the most complicated philosophical problems: “where have we come from and where are we going to?”, the mystery of existence. 

In the "Pelicans" series the artist' main concern is a depiction of a nude female body and how it can be painted by a woman artist today, including all historical references and current situation, her connection with own body. In such a way, the paintings are a condensed representation of a female body, where an artist puts a reference to a male body as well. Thus this is not a sole being but a dialogue between the two. The compositions and shapes here become carnal yet playful, they are bouncy and rhythmic. Here colour red that alludes to Soutine and Titian and Russian Avantgarde artists, rather than becoming a conclusion of the series, shows just one aspect of the work.

Nataliya Chernakova was born in Ekaterinburg, Russia in 1990. She left Russia when she was 21 after completing her BSc in Industrial Design. She then obtained an MFA in Painting from the Royal College of Art in London. After the completion of the studies she has moved to Italy where she lives in Venice and Milan.

Her exhibitions include “Machines of Loving Grace”, Performance Event by Harold de Bree and Mike Watson. “Jump into the Unknown" – Official Collateral program — 56th Venice Biennale, Venice, Italy (2015), “est”, curated by Tommaso Trini (2016), “Lost Senses”, Guest projects, London (2017) and the RCA Degree Show, London, UK (2017).