I work with sculptures and installations. My main media is glass, but I use other media as well (drawings, found objects, photos/videos etc.) when the concept I work on demands it.
I believe that glass has completely unique and controversial sculptural and physical qualities.
It represents a vulnerable frontier between existing and non–existing worlds. Working with this material allows me to establish a concrete but fragile balance between the real and the abstract object. The change of a liquid ephemeral substance into a sturdy physical form and back again, is very much in the nature of glass – and this very much resembles the way I work and think.
My artistic method is in most cases genius loci – I typically work with glass and complementary materials in a location-specific context. My works originate directly from their physical, visual and social surroundings, as well as the specific function and situation. My goal is to experiment with new processes and expressions, where the glass is usually an important part, but not an absolute necessity.
How I work: I get inspired from the concept and work out a series of sculptures based on it.
I choose the language after the concept – This is essential for me.
If I need to look for a new visual language or change the technique, I will do it – even if I have to sacrifice skills I just learned and struggled to master.
Depending on the concept I can, for example, use classic ”cire perdue” sculptural techniques or untraditional approaches as water explosions on hot glass or hammer and amalgam.
In practice it almost always starts with an emotion or a concept I transform into a physical object. I usually develop a series of sculptures within the same conceptual framework – and I continue to work with the concept until I feel there is nothing left for me to investigate, or my mind is somehow hijacked by another more insisting idea.
My latest project was “Restrain and Release” – an artistic research in which I studied the correlation between the concepts of freedom, control and submission – One of THE essential questions of life in my view.
When are you in control and when do you have to go with the flow? Are you ever really free, or are more or less invisible strings constantly keeping you in place? Where is the boundary between power and submission?
I do not have an aim to develop a single language or a recognizable technique. My focus is on communicating strong ideas and messages, with the purpose of introducing the viewer to new aesthetic experiences and multiple interpretations of meanings.
My sculptures are visually very different from each other, but are conceptually very much connected. In all of them I am interested in reaching the point where the objects I use, are transformed and re-sculpted into parallel realities and different meanings – whether they are wooden planks from a destroyed house or fresh pig hearts from a meat market.
I deal with: the lost past; the real – present context of now, and “created reality”. I am always seeking a way from an existing real object/phenomenon to a new abstract and poetic form of a new sculpture, which never existed before. And through this artistic “remake” I aim to supplement and reshape the material world in which I live. Reality gives me the starting point for the variations and reflection – but the final sculpture is very abstract and transformed from the original object that got me started.
My ideal is to merge the essential raw conditions of being human (which my Russian background has installed in me) with my adopted Scandinavian aesthetics.