As an interdisciplinary artist, I work with music, typography and clay. Music and art are intertwined in me as the red and blue lines are on a medical illustration of the human circulatory system. You can’t separate them and you can’t blend them together either. They live simultaneously in my mind challenging me with the ambivalence of their relationships and encouraging me to constantly look for a common language.
My ceramic pieces were created in an attempt to physicalize my sense of music through the abstract plasticity of clay and to demonstrate the transitional quality of the creative process through liquid and solidified forms and audible properties of ceramic vessels.
I am doing ceramics because it is a connection between different parts of my life and especially with the memory of my father, who was a chief engineer of a ceramics factory in Moscow. I feel the strongest connection with the kiln. It is a place where everything is literally and physically melting together, when all forms and all glazes find themselves transformed at high temperature. When those pieces are cooled down, they carry subtle memory traces of the transformation. The kiln is a wonderful metaphor of interconnectedness, interdependence, and communal transformation.
I work with typography as if it were clay (from the small particles of letters, words, sentences to complex structures), and overall precision to make the reading experience the most effective—simply, technical professionalism and craftsmanship. At the same time, I am trying develop a typographic freedom of expression by weaving the language of typography with other human languages, such as theatre, music, science, philosophy, psychology of perception, theory of systems, etc. I capture fleeting moments of time. My work involves infinite experimentation, non-commitment to final forms, translating movement, music theory, and typography into forms that remember.