What is void? A space free from any matter? An empty set? A concept that exists only in our mind? Evgenia Voronova approaches the void not as a category of absence but as a starting reference point, delineating a domain that can be populated. She sees in this space an obvious potential. Enter the Void is an attempt to visualise that which is not accessible to sight, to visualise that which can be experienced exclusively through emotion.

Exploring the space beyond this line, the artist engages in a kind of dialogue with the eponymous feature film by Gaspar Noé. In part a potential homage to the artist's favourite filmmaker, her Enter the Void contains a silhouette that resembles the film's protagonist Oscar, whose gaze is fixed on the alluring neon sign ENTER, beckoning him through the window. This notwithstanding, while Noé's film is more like a visual three-hour psychedelic trip where reality is intermixed with hallucinations and memories, Evgenia's works take us on an endless trip through the space of different rooms, the origin and physical location of which remain a mystery as their windows overlook something like an unfamiliar extraterrestrial landscape or even something like an absent space. The void in Evgenia Voronova's works manifests in a whole variety of forms. This may be an abstract mass that looks like a glitch; or a pitch-dark bottomless blackness hiding behind door frames; or, finally, some absent fragments of canvases, as if burnt, where their past contents are only hinted at with sparse outlines. The main characters in these works come in the form of familiar objects that people employ to fill up their empty space — a chair, a potted plant, a beloved pet. Not quite the objects themselves, however, but rather their silhouettes filled with digital glitch patterns. Their presence is ephemeral, but our imagination keeps on completing them, filling this void.

The artist removes the conventional function of these objects, thereby turning them into ghosts that retain the overall shape but are devoid of their prior meaning and might soon completely cease to exist in this reality. By turning the figures and objects in her canvases into visual noise, Evgenia poses the question of what is more real: the objects themselves or our conception of them. At the same time, these mundane objects also happen to act as anchors that maintain our connection with reality and keep us grounded in it so that we do not slip into the void of otherness fraught with unknown uncertainties. This exhibit could end with a disclaimer 'All characters are fictional. Any similarity to reality is purely coincidental'. After all, each of us sees the void in their own way and, just as importantly, experiences it in their own way as well.