contemporary art photography performance video-art
I’ve always thought Rozanova’s Green Stripe was the most alive shape in avant-garde art — fresh and breathing. As a kid, I imagined it escaping the frame, running far beyond its edges, and ending in a flower.
In Strasbourg, I finally came across it — only it wasn’t endless at all, nor a flower. It turned out to be a green bike lane: short, cracked, fading into a crossing. That made it feel even closer to Rozanova’s own story — bright, remarkable, but far too brief, like so many women’s paths in art, often overshadowed by the fame of men’s works.
In Strasbourg, I finally came across it — only it wasn’t endless at all, nor a flower. It turned out to be a green bike lane: short, cracked, fading into a crossing. That made it feel even closer to Rozanova’s own story — bright, remarkable, but far too brief, like so many women’s paths in art, often overshadowed by the fame of men’s works.
Olga Rozanova,
Untitled (Green Stripe), 1917.
Untitled (Green Stripe), 1917.
Rozanova Was Here, 2025
*Pocket Projects are unplanned one-day works, filmed on my phone during walks and travels.