Personal intertwining with historic, imagined with realistic  lacing creative world. The multiplicity within traditional Russian culture, theatre and ornamentation, exists with a desire to set a site of cultural connotations, symbols and forms.

Cultural luggage and heritage is what makes us who we are. The narratives created through the agency of relics are a base of our collective consciousness, however in the contemporary world the axis of histories has been shifted through the displacement of historical objects. High saturation of history in select few centres creates hyper culture whilst stripping its owners of the rights to it. One singular object is never enough for a full picture; it is rather through a group or sequence, a composition of them that those speculations and theories can be made.

transgression of direct and reversed perspectives. a point of transition. this transition exists not only on a plane but in a volume as well. This volume is hiding in itself, hiding within itself. This volume does not need anything extra, it is a world in itself, closed on itself; eyes looking inside. It is egocentric.

A play on a status symbol, made up of a chain of references. Tsars ceremonial attribute, Constructivist fantasy or New Russian's return to religion and a start for consumerist society

Layers of meaning collide with layers of our memories. A picture one puts on a mantle piece , a picture in a digital archive, one's grandmother's treasured dinner service - all these things shutter when a hard drive collapses proving the vulnerable and existential substance of digital memories. They say broken dishes bring good luck.

This body of work summarizes my studio experience at the artist in residence program at Shigaraki Ceramic Sculptural Park in Shiga Japan. Being overwhelmed and fuelled by a new cultural experience as well as new materials and different ways of working, I launched into a new search into what working with clay really meant to me. Experimenting with clays specific to the region, techniques available to me for the first time (for example Wood firing in anagama) as well as reflecting on the different place ceramics has in the life of Japanese I have produced a body of mixed work that is full of questions and longing.

A symbolic meander. A water flow enticing to enter and take the path through. A flow engulfing the landscape and creating a context of its own. An imaginary space where one can walk on water. Public space being a myth of the old times. Fountain as a story. Fountain as a symbol. Fountain as a myth of community. Fountain is a holy grail of a public space, a waterfall of pubic conscious. 

The water represents the energy, the ambrosia of eternity pouring into the field of time. The endless flowing represents the eternal nature of this mystical dimension and also the infinite nature of its source. The inside of the bowl or pool is sacred space that represents the transcendence of duality or on a psychological level, the gap between our thoughts. It is exactly this gap that the flowing water fills.