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Natasha Goncharova

@_ntshsh_

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(eng) We invited Natasha Goncharova to answer a few questions and put together her moodboard — swipe through the post to get to know the artist and take a closer look at her inspirations.

You can explore her work at merman.fr.

(fr) Nous avons invité Natasha Goncharova à répondre à quelques questions et à composer son moodboard — faites défiler le post pour découvrir l’artiste et explorer de plus près ses inspirations.

Vous pouvez découvrir son travail sur merman.fr.

@_ntshsh_ taken in Paris, France by @_ntshsh_

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6 days ago

Atelier, Village Reille
Room 311
January — September 2026 by @_ntshsh_

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7 days ago

07/08/15, 2026
Cotton jersey, digital print
17 × 29.7 cm; 25 × 32 cm

An image from the artist’s personal archive, taken shortly before her twentieth birthday in the room where she grew up, paired with a date found on the pavement in Paris.

In this ongoing series, anonymous marks on the surface of the city become coordinates for searching through the personal archive. Matching dates form pairs, each taking on its own material form.

In 07/08/15, the photograph and the urban trace are transferred onto cotton jersey: the private and the impersonal meet not only through the date, but through the material itself.

The date was found on Rue de Condé, 75006 Paris.

Presented as part of RÉSONANCE, Chapelle Sainte-Jeanne-d’Arc, Paris, 2026.
Curated by @soniabokser
In partnership with @merman_galerie
Photography: @jeniafilatova by @_ntshsh_

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17 days ago

5 May 2019 / Easter /Side A
8 September 2024 / Mirror. /Side B

double-sided painting
unfinished plywood (wood), oil paint and pencil
75 × 55 cm (each panel)
2026

This diptych is a fragment of a quasi-iconostasis created for Résonance at the Chapelle Sainte-Jeanne-d’Arc in Paris.

The work was developed in relation to the chapel’s stained-glass windows, which bear dates from the life of Joan of Arc. I use these dates as a system of temporal coordinates, relating them to images from my own digital archive.

One of the final images shows another dated stained-glass window from the chapel, included as an example of this system.

The diptych is currently presented by @merman_galerie and can be viewed on the gallery’s website.
photography @jeniafilatova by @_ntshsh_

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a month ago

23 FÉVRIER 2020 / BLACK EARTH
23 FÉVRIER 2022 / ANTIPAS

double-sided painting
unfinished plywood (wood), oil paint and pencil
75 × 55 cm (each panel)
2026

This diptych is a fragment of a quasi-iconostasis created for Résonance at the Chapelle Sainte-Jeanne-d’Arc in Paris.

The work was developed in relation to one of the chapel’s stained-glass windows, bearing the date 23 février 1429 from the life of Joan of Arc. I use this date as a temporal coordinate, relating 23 February to two images from my own digital archive: 23 February 2020 / Black Earth and 23 February 2022 / Antipas.

Through this system, a historical date embedded in the architecture becomes a point of connection between different moments, places and images within my personal archive.

One of the final images shows another dated stained-glass window from the chapel. It is included as an example of the system of dates present throughout the stained glass, rather than as the specific source for this diptych.

The diptych is currently presented by @merman_galerie and can be viewed on the gallery’s website.
photography @jeniafilatova by @_ntshsh_

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a month ago

October 2024 / Trinity Church (Manhattan)
5 May 2018 / Charcoal

double-sided painting
unfinished plywood (wood), oil paint and pencil
75 × 55 cm (each panel)
2026

This diptych is a fragment of a quasi-iconostasis created for Résonance at the Chapelle Sainte-Jeanne-d’Arc in Paris.

The work was developed in relation to the chapel’s stained-glass windows, which bear dates from the life of Joan of Arc. I use these dates as a system of temporal coordinates, relating them to images from my own digital archive.

One of the final images shows another dated stained-glass window from the chapel, included here as an example of this system.

The diptych is currently presented by @merman_galerie and can be viewed on the gallery’s website.
photography @jeniafilatova by @_ntshsh_

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a month ago

The Last Reflection (2026)
Synthetic video with an original soundtrack. by @_ntshsh_

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3 months ago

A room wrapped in banner fabric.
A vertical cut.

Paint, marks, a chroma key surface.
Fragments of a digital archive enter the space.

The installation is composed of banner fabric, chroma key, painting, and a digital archive -
treated here as a primary material.

📷 @pavel_polshchikov_ by @_ntshsh_

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6 months ago

(eng) Resonance, Natasha Goncharova’s solo exhibition at Chapelle Sainte-Jeanne-d’Arc in Paris, realized in partnership with Galerie Merman.

Conceived with curator Sonia Kovaleva, the exhibition brings together painting, objects, and video projection to explore memory through the chapel’s architecture. Drawing on dates found in its stained-glass windows and images from her personal archive, the artist transforms recollection into both a visual and physical process.

Read more about the exhibition on our website. The exhibition catalogue is available upon request.

(fr) Resonance, l’exposition personnelle de Natasha Goncharova à la Chapelle Sainte-Jeanne-d’Arc à Paris, réalisée en partenariat avec Galerie Merman.

Conçu avec la commissaire d’exposition Sonia Kovaleva, le projet réunit peintures, objets et projection vidéo afin d’explorer la mémoire à travers l’architecture de la chapelle. En s’appuyant sur les dates inscrites dans les vitraux et sur des images issues de ses archives personnelles, l’artiste transforme le souvenir en une expérience à la fois visuelle et physique.

Découvrez l’exposition sur notre site. Le catalogue de l’exposition est disponible sur demande.

Photography: Zhenya Filatova @jeniafilatova

@_ntshsh_ × @merman_galerie taken in Paris, France by @_ntshsh_

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3 months ago

Artificial Tattoo — 16/09/20
Presented as part of the exhibition Résonance, 9 June 2026, Chapelle Sainte-Jeanne-d’Arc, Paris.

The starting point of this work was a date engraved in the asphalt of Paris: 16/09/20.

Using this date as a research tool, I returned to my personal digital archive and located a photograph taken on that day.

The image was then tattooed onto artificial skin using a hand-poke technique. The work draws on tattooing as one of the oldest forms of inscription on the body and considers skin as a surface capable of carrying memory across time.

The ink was manually mixed to evoke the appearance of Russian amateur tattoos.

By linking an anonymous urban inscription to a specific archival image, the work creates a connection between public space, personal memory, and the body as a site of inscription.

Artificial skin, hand-poke tattoo, archival photograph, custom mixed ink. by @_ntshsh_

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4 months ago

(eng) We are sharing exhibition views from Resonance, a solo exhibition by Natasha Goncharova presented at Chapelle Sainte-Jeanne-d’Arc in Paris in partnership with Galerie Merman.

The artist draws on fragments from her personal archive — from childhood videos and travel images to everyday digital snapshots, capturing both significant and incidental moments.

A key element of the exhibition is a series of paired canvases painted with the right and left hand. Aligning dates from the chapel’s stained glass with her own biography, Goncharova renders the same “day” twice: first with photographic precision, then through bodily shift and effort.

Repetition becomes a method for exploring memory, where slight differences between two versions of an image reshape the recollection itself.

The exhibition catalogue is available upon request.

(fr) Nous partageons les vues de l’exposition Résonance, exposition personnelle de Natasha Goncharova présentée à la Chapelle Sainte-Jeanne-d’Arc à Paris en partenariat avec la Galerie Merman.

L’artiste travaille à partir de fragments de ses archives personnelles — vidéos d’enfance, images de voyage et instantanés du quotidien, capturant des moments significatifs aussi bien que fortuits.

Un élément central de l’exposition est constitué d’une série de toiles jumelles, peintes de la main droite puis de la main gauche. En reliant les dates des vitraux de la chapelle à sa propre biographie, Goncharova représente deux fois le même « jour » : d’abord avec précision, puis à travers un décalage corporel et l’effort du geste.

La répétition devient un outil d’exploration de la mémoire, où les légères différences entre deux versions d’une image reconfigurent le souvenir lui-même.

Le catalogue de l’exposition est disponible sur demande.

Curatorial text: Sonia Kovaléva @soniabokser Photography: Zhenya Filatova @jeniafilatova

@_ntshsh_ × @merman_galerie by @_ntshsh_

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4 months ago

Portrait 17/02/22
Diptych, oil, 2026

A search for a method.

Before speaking about the works from my latest exhibition, I wanted to return to what came before.

Right hand — concentration.
Left hand — trace, memory, bodily imprint.

📷 @kkarton_ph by @_ntshsh_

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2 months ago