Larissa Eremeeva was born in the Soviet Union, studied art in Belgium, and has since lived and worked in the Netherlands, the United States, and Italy, where her studio occupies the grand drawing room of a palazzo in Abruzzo. These accumulated geographies — and the literary figures that have accompanied them, from Marcel Proust and Fernando Pessoa to Boris Pasternak — have shaped a practice driven by themes of transience, impermanence, and the unstable surface of memory. Her work has been collected across North America, Europe, Asia, and Australia, and featured by the Jealous Curator, one of the leading international platforms for contemporary painting.
Eremeeva describes her practice as "evocative abstract" — a term that captures the way her paintings refuse to resolve into either pure abstraction or legible figuration, occupying instead the unstable territory between the two where suggestion and sensation live. Influences from Gerhard Richter, Marlene Dumas, Richard Diebenkorn, Peter Doig, and Luc Tuymans run through the work, but the paintings are not derivative of any of them; they are built in multiple layers of oil augmented with sand, charcoal, and graphite, each layer partially obscuring and partially revealing what came before, the surface a record of its own making rather than a finished statement.
Her canvases are large-format originals, unique works rather than editions, and carry the physical weight of their process in a way that reproduction cannot convey. The scale is deliberate: Eremeeva's paintings are intended to occupy a room rather than simply hang in one, the gestural marks at full size demanding a physical engagement that a smaller work would deflect.
The work available through Creed Gallery is The Thought That Tried To Get Away, an oil on canvas original in sage green, yellow-green, cream, and charcoal, signed by the artist. Available through Creed Gallery, Ascot, for collectors across Berkshire, Surrey, and London.
