My main interest is the human condition and how it is expressed in the human figure.
Originally trained as a photographer, I am an acute observer of people’s movements, postures, gestures and facial expressions and how they change as history progresses.
Over the course of the years my work has evolved from two-dimensional photographic work into three-dimensional sculpture and installation. The site–specific installations are created with found materials, 3d collages, photography, drawing and sculpture. For my latest works, I have used fragile and impermanent materials like cardboard and paper to make figurative sculptures that reflect the transient state of contemporary urban life.
My life as an expat has fuelled my desire to explore themes like freedom, limitless possibilities, the expansion of consciousness, and at the same time globalization, displacement, being in exile, impermanence, homelessness and existential loneliness.
In my solo exhibition Farewells hundreds of three-dimensional figures of various sizes transform a large space underneath railway arches into a station where people in transit meet. They populate the floor or wall space, while others are ceiling bound. Almost all are wired and some seem to be in a praying position. The title was inspired by Boccioni’s work States of Mind: Those who go, those who stay and Farewells.
The bending and folding of cut - out photographic prints into three - dimensional sculptures exaggerate the physique and posture of the travellers. Visitors were able to walk around the sculptures and experience the abstract and unsubstantial cardboard back from one angle, and the realistic and more solid photographic front from another. Unlike Origami, I work without strict rules and the small-scale figures are folded intuitively. Large-scale works are based on small models because they rely on perfectly cut angles and the right distribution of weight.
The imagery of Farewells is based on photographs of commuters transport taken with my IPhone camera. Older photographic works captured commuters in Russia riding the escalator shortly after Perestroika, and passengers riding the Staten Island Ferry New York in the 9/11 aftermath.
My transition from two–dimensional to three–dimensional was triggered by the need to create sensorial and tactile things as a way of compensating the digitisation of photography. The figures are created for a specific space to incorporate the sense of place; however transient or permanent, it represents this for the moment the visitor is amongst the work.