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
35 sec // Rue Brûlée, Strasbourg, France
Walking The Green Line
Video follows my walk along green stripe, balancing step by step, thinking about Olga’s presence and the fragile, fleeting traces women leave in art history — vivid yet vulnerable, present yet at risk of vanishing.
The stripe I filmed was on a quiet side street. The asphalt beneath was fractured, splitting the stripe into uneven segments — yet the green stayed vivid, holding on despite time and wear. I think I found the shortest line of all I passed. Just like Olga’s work, it had blended into its surroundings, but was still there for anyone who cared to look.
I started at a white arrow painted for cyclists, pointing forward — yet cars occasionally passed in the opposite direction. Walking along the stripe felt a little like moving against the flow, much like the path women in art have had to take.
By pure coincidence, I was wearing green Adidas shorts with white stripes — unintentionally echoing her painting in reverse. I was glad to meet Rozanova on the street and take a walk with her — a small, unexpected chance to think again about her work and about the women in art whose place in history is now being rediscovered and redefined.
I started at a white arrow painted for cyclists, pointing forward — yet cars occasionally passed in the opposite direction. Walking along the stripe felt a little like moving against the flow, much like the path women in art have had to take.
By pure coincidence, I was wearing green Adidas shorts with white stripes — unintentionally echoing her painting in reverse. I was glad to meet Rozanova on the street and take a walk with her — a small, unexpected chance to think again about her work and about the women in art whose place in history is now being rediscovered and redefined.
Behind the Work:
*Pocket Projects are unplanned one-day works, filmed on my phone during walks and travels.