Wednesday, October 26, 2016

On the work in the light industrial units... of my Juno Way estate.

I get images of food from magazines thrown away in the bins here and adverts.


Monday, October 10, 2016

Sugar for RC

One of the most aspects of collaboration with RC is the colour palette he wears and uses in his work.
I've made this foldable collage for him in order to pin down those colours that became major in my summer palette, and till now, when I am adjusting glazed and testing slip decorations.

Monday, October 03, 2016

Robert Carter

We've been in continuous exchange of mail art, letters and digital.
Robert have been putting images from our exchange on the blog.

Negotiating friendship and trust in collaboration. I am on the wait for his new address while he is moving to be an artist in residency in Rotterdam, finishing his job as a frame-maker in Manchester.
Starting to be an art frame-maker as a curator?

Having an address to post things to means so much. Something I craved for since I was 17 when left Russia. Something that intervened with my mail art distribution, and something that started from my mail art distribution.

Receiving envelopes, pieces of card and stamped collages.
Being dramatic, bad at handwriting and accepting Robert Carter's invention of Dear T.

Robert is also a fictional character in SE14 Punchlines, an artist and a curator, friend of Robin. Someone who gets to float nearby, when both are depressed and potentially sinking.

Cardboard fireplaces/ HMP Grendon

I love these pieces presented at Koestler Trust exhibition in the Royal Festival Hall. 'Life-like' fireplaces and contrast of those with cold institutional environment of a prison. This makes me think of how Holding Cell project I've done with Houserules, cardboard child-scaled police station holding cell was a reverse, maybe now slightly ironic but creepy reverse of this utopian gesture by Dean from HMP Grendon.
Every year I attend Kosetlet Trust exhibition and find myself inspired and impressed by work of educators holding art rooms, and inmates who work in those rooms. It gives me a sense of optimism, maybe fake unnecessary optimism about the state of the soceity and how it's structured, politics of punishment and having such place as prison. It makes me jealous of those incarcerated: punishment of time, all time at hands. As of society we live in, something we don't have is time. It's all taken by the reproduction of capital, our existence: rent and bread. Nowadays all my time all goes into running my Ceramics Studio Co-op, writing story of a Robin and working with Robert Carter on our mail art exchange. Secretarial work at Co-operatives London, and recent election as a director take a lot of commitment also, but this work is necessary and important move in direction of change of attitude towards co-operatives.
I find myself being inspired by political involvement of Courbet and Pottier at the times of Paris Commune, and it keeps me away from panicking about lack of distribution of my own work, as this experience contributes to what my work has to become. Nuances and complications of governance and organising. Fields of pre-figurative politics on one side, and business world on the other. Socialist movement that takes place in most advanced capitalist hub, and being seen as communal business. This builds into my practice as artist, and this waits for analysis to explain how exactly. In December this year I hope to have my work, SE14 Punchlines published in the Archipelago, MA Art and Politics, Goldsmiths publication. Embarrassment over wiring in the language I have accepted as my own, and writing my story, a sketch of New Cross, it's streets mapped by a body of a young queer character and co-operator.
'If you don't turn your life into a story, you just become a part of someone else's story' - Terry Pratchett.

Saturday, July 16, 2016


Black clay/ Stoneware toasted experimentals. Little sketch portraits of Nicola Adams, the boxer and artist Mike Harvey.

With MH it came out failing my expectations for speckled texture tin white glaze gives when applied on toasted. I ralise this has something to do with firing this work horizontally.
Very pleased with slip decoration.
Texture of NA portrait is also very pleasing. tb continued.

Monday, June 27, 2016

When artists from a middle-class background expressed their disgust, their non-belonging, they remained stuck in the background by digging in individual pain; but by writing they got closer to the people who viewed their activity as an unnecessary, luxurious extravagance. Perhaps they themselves did not yet comprehend, perhaps they would never transcend their desperateness, their powerlessness, never be able to transfer their disquiet to a search for political insights, would despise their origins only generally and not to manage to join the forces of upheaval. However, the movement they found themselves in, whether mournful of frenzied, single-minded or uncertain, was large enough to make it clear to us that the struggle to advance was being waged everywhere, that the rules, the methods of expression were going though a metamorphosis, that they were disintegrating in some places, being renewed in others. Full of misunderstanding, the members of middle strata, of the petty bourgeoisie, were pressing for change in the conditions, many were enticed by fascism, with their half-baked ideas they wound up with the teachings of the reactionaries, others began to understand their dependence on capitalism, they too were wage earners, producers of surplus value, bled white, none of them whether in an office, a bureau, a university, or a research center, owned the means of production. If they dared to see though their situation, they all made contact with people in the industries, the workshops, thereby broadening their concept of working class, more and more of these people who had once had to be counted as part of the bourgeoisie, made a path of proletariat their own, often even adding weightiness to it with theoretical and practical contributions. These reflections were very seldom to be gleaned directly from books on the era of crisis, outwardly most works were still reserved for the educated elite, the definitive step was not taken, was guessed at only as impatience, as dislike of the status quo, as something in the future. New progressive forces that had freed themselves from earlier bonds drove us to make others more conscious of our own position. The students and academics the artists and writers who joined us had not seen their background as definitive, and we likewise had to overcome the arrogance of assuming that we alone, on the basis of certain social and economic conditions were at home in the proletariat. Rather by precise differentiation we had to once again choose and define our standpoint. A person belonged to the working class if he acted in its behalf no matter where he came from. This was particularly important now that large segments of labor had gone astray and were being shoved away from their point of departure. The broad unity of proletarian action had failed to materialize. There workers had not known how to define themselves against fascism.
Peter Weiss, The Aesthetics of Resistance, Duke University Press, Volume I, pp 162-163

Saturday, June 11, 2016

SE14 Punchlines at Ladette Space, Sunday 11 June 2016, 6pm

My new performance work 'SE14 Punchlines'  will be on at Nomad Art School event in Ladette Space, which is a part of AntiUniversity Now.

It is a new explorational piece about fictional co-operative member Robin, localism, art and boxing.

Rather exciting, so come and see it alongside a fresh line-up of mostly locally based artists doing some educational stuff... I am on Sunday 6pm. Programme starts at 2:30pm. 55 Cossal Walk SE15, right by Queens Rd. Pkhm. More info at NoMad's website

Tuesday, May 31, 2016

North London Loop (with Rob Carter)

On Sunday 29 May Rob Carter and Tatiana Baskakova took Overground train from Finchley Road & Frognal in direction of Startford. On Highbury & Islington they changed platforms and their cards were checked by Revenue Protection Officers twice. After 6 minute wait they took a train back to Clapham Junction. After 15 minutes of conversation they changed the direction back again at Gospel Oak, taking a train heading to Startford. Both disembarked at Highbury & Islington and changed platforms having their cards checked by revenue protection officers again. After 6 minute wait they took a train to Crystal Palace and successfully reached Hoxton, ending North London Loop.

Monday, March 28, 2016

peanut butter (for Michael)


" The pain was so great, that it made me moan; and yet so surpassing was the sweetness of this excessive pain, that I could not wish to be rid of it. " ‘The Life of Teresa of Jesus’ (1515–1582) xo

Friday, January 22, 2016


Getting back to some simple ceramics practice has never felt so good.
I am pushing my turning and throwing skills, exploring modernist shape with tendency to slight vulnerable imperfection.
Asked to look at Hand Coper, I am coming back to my early attempts to make vases with undercuts. I am going though peroods of jealousy about Coper's round sw bottles and exciting spade shapes.

The vase on the left of the image was my latest piece I've made in summer 2015, technically challenging, slab built with lead based glaze I've been looking to take shapes like this further.