Exlibris of Eva F. 1978

Curator: Looking at this piece, titled "Exlibris of Eva F." crafted by Oleksandr Aksinin in 1978, I’m immediately struck by the density of detail achievable through engraving. The graphic-art aesthetic really emphasizes the labor invested. What are your initial impressions? Editor: Initially, it's the stark, almost oppressive circular form. Those repeated mouths rising through the center, feel to me both symbolic and silenced, like a choir of unspoken stories. There's an inherent tension. Curator: That tension speaks to Aksinin's use of line work and Art Nouveau influences. Note how each element, each mark, contributes to the overall structure; this is the core of graphic arts. What statement is he trying to make through such demanding manual production of these prints? Editor: I read it as commentary of control. Those carefully positioned mouths seem numbered, cataloged, almost weaponized, particularly within the historical and political context of the Soviet Union at the time. Is this an embrace of censorship or is it resisting that oppression? Curator: Censorship would greatly affect production costs of artistic material, and limit distribution to certain circles. Aksinin created an intimate item – an exlibris is meant to identify ownership within a library – yet he filled it with symbolism that pushes it beyond pure utility. This elevates both the craft and value of art production, doesn't it? Editor: Indeed. An exlibris designates a book's origin and it can tell us about a person’s history, tastes, and position in society. And I think these sorts of layered tensions make it compelling to view, now more than ever. Thank you for emphasizing these details. Curator: And thank you for highlighting its deeper significance; it makes me consider what material legacy the piece will have. Editor: A legacy that resonates across cultures, for sure.