Syntax Gallery is pleased to present a new show by Belarusian artist Andrey Anro titled 45 cm. In his paintings Anro, a former photographer, reimagines the collective memory through documenting photos and footage. The new series of works explores the transformation of an individual's private space boundaries and its connection to the widespread use of personal photos and videos on social media.

45 cm stands for the boundary between an individual's intimate and private space, invading which causes discomfort and unease.

At the same time, with the advent of the Internet the personal, social and public domains can and do intersect which allows the curious to, anonymously, have a closer look at the intimate, for example through homemade erotic photos. And while anonymous faces in the picture dissolve in the information flow, the private lives of celebrities directly affect their public lives. Which is exactly what happened with Katie Hill, a member of the Democratic Party who had won her seat in the U.S. House of Representatives, whose private photos were leaked to the media which caused an effective shift in political history of the 25th district.

45 cm is a series of works that explore the concept of personal space within public space. The artist works with photo and video materials of sexual nature that are readily available on the Internet, and examines the culture of eros, sex symbols, and sordid scandals.

Andrey Anro (b. 1987, Smargon, Belarus) is a Belarusian artist and photographer. Lives and works in Smargon / Minsk, Belarus. In 2007 he graduated from MMT L.B. Krasina (Moscow, Russia) with a degree in Advertising. His first book "21 glasses. Yogesh's stories recorded by Anro" was published by Trimedia Content. From 2007 to 2012 Anro worked as a photographer and made a series of photographs titled Dissomnia that reinterprets Belarusian folklore.

In 2013 Anro started painting, which lead to a series of works titled The Lost that utilises the portraits of missing people as medium. Anro's next project, Face in Shadow, used political imagery through the prism of mythology and visualised them by means of figurative painting.