About the artist
Sofia Echa is a first-generation Russian-American based in Los Angeles, CA. Born on the Far East of Russia in 1992 in Vladivostok, Sofia settled in New York City in 2013 to continue her pursuit of a career in art after she received a bachelor degree in Japanese studies at Federal University of Vladivostok, Russia. She graduated from the National Academy School in New York. Before that, Sofia studied fine arts in Art School in Vladivostok and in Cambridge School Of Visual & Performing Arts, Cambridge, UK.
Her works are in private collections in the United States and Russia. She is honored to have donated work to the 2015 National Academy Gala auction honoring National Academician, Eric Fischl, with a Lifetime Achievement Award, and to the Bailey House Auction in 2016, 2017, and 2020. In September 2015, she had her first solo show in the Center of Contemporary Art Sol’ in Vladivostok, Russia, and in 2017 – the first solo show in New York (Sonia Gechtoff gallery, National Academy Museum and School). In September 2018 her work was auctioned off at the Phillips auction house in New York.
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The Process
I paint with acrylic on metal and canvas. Influenced by the Daoist theory and philosophy in art where the object is present and absent at the same time, I am exploring continuous movement and flow of forms into each other, using metal sheets as a three-dimensional surface. Working with metal sheets of various sizes, I am interested in an illusion of reflection and the theme of distance and longing. I learned to understand the feeling of longing and loneliness that goes along with Japanese poetry during my University years studying Japanese and living in Japan for a while and then during and after Covid in 2020: longing does not have to be painful and heavy - it can be light, and the experience of loneliness does not necessarily fill with bitterness - it can be tender sadness. Longing for home, longing for lovers, longing for belonging. Working on metal sheets, I see my reflection in the unpainted areas through the abstract cloud-like strokes I make, and that helps me dive into my memories.
The cool gray color I favor in both my works on metal and canvas provides an achromatic background allowing me to begin my paintings in an oasis of calm and neutrality. Also, my interest is not only what is on the front, but also what is on the back: I attach stretchers on my works on metal so they have a shadow on the wall, and that adds sculptural qualities to my work, creating a floating illusion.
The thick glossy varnish I use as the last step in my creative process is meaningful to me. I am fascinated by the density of gloss I put on top of my paint: adding these qualities to my works is important to me as it symbolizes sensuality, sexuality and a woman’s lifeforce, which is the creative energy itself. After having a baby over a year ago I started nourishing my sensual side even more as I craved that sense of empowerment that I lacked, not having the energy or time to reconnect with myself. Apllying layer after layer of gloss to my work, makes me tune in my sensual side.
I paint with palette knives and other metal objects, and I love to play with the idea of metal being ‘heavy’ and ‘light’ at the same time. The idea of a hard edge on a hard surface or big bold canvases is ‘masculine’, but the way I apply paint is subtle, my strokes are soft, and this method to me is about sensuality and femininity but also about being strong. In this way, I challenge myself to use ‘strong’ materials but create a sensual impact by working in a delicate and subtle way.