In the “Hired to Dream” series Oksana Mas continues to search for a dynamic expression of the world that is harden in a state of laziness and peace. The title of the series gives a great clue to the subjects Mas is interested in. As ever Mas focuses on everyday life of the “casual” sort, life devoid of work, urban nervousness et cetera. 

Mas introduces an unexpected twist to the static compositions: the artist overlays the full color paintings with transparent pellicle that serves as a monochrome double to the originals. The transparent layers look like stencils from the practice of street artists.

The contrast between the full color originals and monochrome “copies” is based on the dif-ference between the image as a sign and the image that strives to look organic. The transparent layers are sharper. They conceal faceless, untraceable images of flesh, blood and color.


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