WYF

Sea of Milk, installed in the artist’s garden

“The work ‘Sea of Milk’ explores the idea of a mythological cosmic ocean from which all existence sprung out. According to Indian mythology, the Ksheerasagara or the ‘Sea of Milk’ denotes the fabric of space-time. This mythical ocean originates the human existence alongside the good and the evil of the world. Using mark making, I have explored the movements of this cosmic ocean through the instrument of printmaking. Through this process, a new perspective is achieved to contemplate mythological abstractness by virtue of physical forces of nature. Exploring the effect of gravity and the tension between the fibres of the textile, the mythopoetic happenings are stretched between the chronons of time. Depicting the mythological origins of the world, the work presents an insight into my sense of space and belonging. 

Combining printmaking, mark making, and mythology, this installation represents a deep appreciation for the colour blue through an age old technique. The ephemeral nature of work and the temporality of its presence in natural surroundings (in the presence of wind, rain and sun) furthers the mortal nature of life and material.”

The Centre of the Universe, installed at the artist’s home in Sussex, UK

“This is one of my most recent workings part of a short photographic and word word series in which I uncover the kitchen on my home ‘The centre of the universe’.

The words read: 

All know but few have ever seen.

Under the shade of a small oak,

A warm cheek pressed to my mothers breast bone."

Artist quilt installed in Epping Forest, UK

“This is a one piece quilt embroidered with a map of the northern hemisphere constellations. Constellations have always fascinated me: random dots woven into beautiful narrative to explain the world of cultures past; and I made this quilt so that I can always sleep under the stars. I have always found the forest as a way to connect to my sense of home and found it deeply calming, so over the lockdowns I came to run in Epping Forest as often as I could. Balanced on top is a quote from Shakespeare’s Tempest ‘Our revels now have ended’ that I hand typeset using individual metal press letters at Paekarikiriki Press in Walthamstow. The quote ‘We are such stuff / As dreams are made on, and our little life / Is rounded with a sleep’ has brought me a sense of wonder, and relates to the star quilt nicely too!”

Airborne_head, installed in a landscape from the discarded  / preserved / relived; for other(s) from us photographed in a soft environment, like home, at home (but not?)

“What is the value of a true story when it cannot be understood? "Airborne_Head" is like holding one's head above the level of the surrounding air, breathing visual narratives embodied in (im)prints that reflect on themes of displacement, longing, and the multifaceted nature of personal identity influenced by the multitude of cultures (Kyiv, London, Zurich, Taipei) and geopolitical events (where is my home, as a Ukrainian?). 

Sad / not sad?”

Trillions of cells, and billions of neurons. How can I know me?, installed in a transitional space in Hertfordshire, reinstalled into a digital space using photogrammetry

Silent shouts echo through the placard. A haiku unfolding from its dull substrate. Cradled by the artist, a conduit of being. Letters weave a tale mingling wonder with despair. A contemplation in a land of turbulence. 

Yet, the setting remains still, nondescript—a non-place. A road, a path, planting. A familiar place where civil engineering and landscaping intersect, narrating the modern tale of anthropogenic activity. 

But the scene is no longer grounded in life. It is a digital facsimile. A new reality filtered from reality—a computer aided reality. 

Is this me, in a place I feel at home?

Passing, installed at Execution Dock in London

“My life in London has ebbed and flowed eastwards with the tidal Thames. The river has been my home and its history the focus of three years of research and writing. Passing is my ritual offering to Joseph Bazalgette, who not only cleaned up the river, but made the city itself habitable by building the sewers that saved London from cholera. It speaks of transition, connection and the capital’s underbelly, and is a synthesis of my identity as a ceramicist and writer.”

"forget my past - forget where I came from - this is who I am now - someone who paints cats

I don't paint real cats but I saw a real cat sitting in this place yesterday. Today I put my painting in the same place and waited till someone else saw it. I wondered if they saw a cat or a painting. Then I wondered which answer I wanted.”

Listening, installed in the artist’s home in London

“When I hear the singing of insects, they sound of long gone days which I miss. When I read books from old days, they give other lives which I have missed.”

Almost Zircon, installed in the artist’s living room in Buenos Aires, Argentina

“My work is in constant search of an interaction with the audience. An invitation to immerse in a tactile experience. The piece I'm showing is a unique creation through 3d printing technology. It was an intended failure of a work that was supposed to be different.”

A Blockwork Bench, installed in the architect’s garden in London

“This is a concrete blockwork bench that sits in my garden, made during Christmas 2022. It is formed of 5 regular 215 x 440mm standard aerated concrete blocks, available at any DIY shop. The top is designed to use a conventional concrete paving slab 600mm square, also available at any DIY shop. Instead here I cast a special one with a circular hole in it. All in all the standard version of this bench costs about £2.50 x 5 + £3 = £15.50. the blocks are not bonded together, so it can be taken apart and reused for something else. I attempt to elevate the simple materials by stacking them in a form reminiscent of a classical Corinthian column. And in a story of the origins of such a column, it is stated that a basket is left in the wilderness with a stone slab placed on top in order to protect its contents. Years later a sculptor discovers then forgotten basket, now with beautiful acanthus leaves growing around it. Thus my bench is a recollection of this story – with blocks stacked in a woven manner like the basket, a stone on the top, and weeds and ferns growing around it from my garden.”

Into the world of transcendental experience, installed in the woods of Hertfordshire, UK

“‘Into the world of transcendental experience’ is a sculptural form made through exploring the human body relationship with nature, how the two intertwine through the process of making. Through this process the sculpture becomes a reflection of my body, the form it takes being a direct result of my bodily movements, with traces of these remaining through fingerprints and marks left behind on the surface. 

To me nature is home. The rolling fields, meadows of flowers, woodlands of colour changing trees is where I feel calm, at peace, at home. The image is taken within a woodlands near where I grew up in Hertfordshire, a place frequently visited on walks with my family. The sense of belonging in this photo is the changing of colours and shapes within the landscape more than its specific location. The natural beauty and sense of escape from the chaos of everyday life I feel when surrounded by nature is what makes me feel I belong within its surroundings.”