Hand woven sculpture is my passion and love.
I like to experiment with various textile materials and trying to find ways to combine textiles wiht other materials.
Merit Diplom for hand woven sculpture "This warm world" in juried exhibition "Art Now" in Märsta Konsthall, Sweden 2014
Artist Board Travel Grant 2017
Helge Ax:Son Johnson 2015
Täby kommun, kulturstipendium 2015
Artist Board Travel Grant 2013
Istanbul Friend´s Travel Grant 2013
Utbildning: Master´s programme in Visual Culture and Learning, Konstfack
Medlem i konstnärsförening: KRO, KC Öst, BUS, SKF, Nordic Textile Art
Some Juried Exhibitions:
2017 Liljevalchs, Stockholm
2016 Colors in the center, Åre Art Gallery, Sweden
2016 Near Produced, Sculpture Park in Ängelsberg, Sweden
2016 Bordline, are we outside or inside? Rånäs Sculpture Park, Sweden
2015 From Stockholm to Aguimes, Gran Canaria
2015 Friendship III, Edsvik Art Gallery, Sweden
2015 International Textile Art Bienal 2015, Belgium
2014 Art Now, Märsta Art Gallery, Sweden
2013 ACT+ISM , The Artcomplex Center of Tokyo, Japan
2013 The internationell Project "Womens voice in Art" Museum of Contemporary Art, Minsk Belarus
2012 Art in Kungsträdgården “Global Cultur” Stockholm, Sweden (City street Art exhibition)
2008 Art exhibition Smolensk, Russia (Gallery at the City Museum)
2007 Solo Exhibition Sint Antonio, Holland
2007 Folkart Minsk, Belarus
2006 ”Art forum” Lodz, Poland
2006 ”The days of Belarus in Russia", Sankt-Peterburg, Russia
2003 "Folk Art" Mageikyai, Lithuania
2003 Art exhibition bus Dzerginsk, Belarus
2003 ”Spring 2003” Minsk, Belarus
2003 Art exhibition dedicated Y.Collas Minsk, Belarus
2000 Solo Exhibition Nienburg, Germani
Going Public or journey from the Soviet training to the Swedish public art.
Man grows up, study and build itself using the environment and culture that is available.
I thought that art is one of them limitless substance which gives me the freedom to be understandable regardless of the country in which I create. I thought that there is basic konstreglar such as composition, shape and color language and that is the case.
But is it enough to be good all art rules or is there something more to be accepted as an artist in different countries regardless of politics or religion works there? When two different cultures will meet in art, what factors does matter then? What is it that influences our view of art's experience? Who controls the process?
During my 9års art studies in one of the Soviet country I learned that art is like math where there are common conventions and calculated results. Why is it so that when I came to Sweden I understood that my way of painting is very different from the one that won? Both color and composition wise, I feel my paintings a little without limit, a little "too much" and "decorative".
Unfortunately, I would like to understand what is required in order to be able to "talk the same language" with Swedish artists and Viewer? It is not enough that I passed the Swedish at half a year? No, it seems so, but how can I be true to myself when the new culture will require big changes in me? How to become a really and what is required of immigrants in order to become Swedish? Not only Swedish in the sense that it is acquiring Swedish citizenship, because it doesn't have to be particularly difficult. But how can an immigrant man be Swedish in that way that they are taken to be Swedes of the surroundings. To fit into a society with Swedish standards, a Swedish context. And art in Sweden? What is the value, who determines the level, which owns the right to define what is art?
The question is whether I would live every 5 years in different countries with completely different cultural patterns, what would I get at the end to myself? Can I keep your own seed in my art without being affected in General? There's always a line more or less hidden agreements, though I do not really know what art scene is, there are so many groups with divergent understandings.
Being able to make my vote higher in the public sphere. How can I bring in my mind to be able to join in and try to fit me into the public domain without losing yourself? How can I communicate with the public with my over the decorative compositions and my habit not to be too personal and not risk.
I see art as a work room or a field where I'm happy. I love to paint and to create joy. But here in Sweden I learn that with art you have the opportunity to ask questions about society, be in a form of continuous discussion, and be a small part of those large processes.
It was interesting to read a study about the role of the non-Western artist have in Swedish cultural life by Steven B, Carolin Lad (Bachelor thesis from the culture, society, media production, 2007, Department for studies of social change and culture – ISAAC LiU Norrköping) Difference between artists and artists.
"The results we obtained show that the Swedish cultural life has a wall around it that is very difficult to get through unless one is of Western origin, and even then, you are guaranteed the same terms. Although it occasionally has made attempts to equate the Swedish artists with foreign artists, they have rarely succeeded. While working on the paper we have become more and more doubtful about the Swedish cultural life really want all artists must be able to operate under the same conditions. " Peter Gillgren, lecturer in art history at Gotland University Peter Gillgren has written an article called "Who decides what is art? In the article he writes about how artists, viewers and critics are dependent on each other when it comes to classifying a work of art. He also takes up the role of conservators and columnists have when it comes to the question of what is art and what is not.
It means that it's not just me who gets the feeling that it has no possibility of being welcome and understood if you come from tex Belarus? It is necessary to make both energy and time for networking, knowledge and understanding of how great art looks to foreign artists in Sweden. But it is special only for Sweden?
den 31 juli 2014