44AD artspace, Bath, UK
Meisterschülerin, School of Art and Design Kassel, Germany
National College of Art and Design, Dublin, Ireland
MFA (Künstlerischer Abschluss)
at the School of Art and Design Kassel, Germany
professors: Stefan Demary, Norbert Radermacher,
Johannes Spehr and Urs Lüthi
working at Falmouth University, MFA Performance Writing
Fine Art (BA) at Bath Spa School of Art and Design, UK
working at the Fraunohfer ITWM, public relations
‘perhaps no one thinks this sentence’
As a matter of course, there is a considerable difference between spoken language, written language and linguistic theory. Read it, say it or decipher it, the results are utterly different. It is this experience that I am pursuing in my practice and one of the reasons why I love language.
As universal as it seems; as restrictive and at the same time limitless as it can be, there are still indefinite paradoxes and ambiguities that surprisingly even science cannot explain. Constantly fed by my theoretical research in linguistics and media, my practice explores sculpture, installation, performance, publishing, sound, video, programming and computer linguistics.
My provenance led me to my current fields of research; born in Russia, I worked and studied in Germany, England and other places within the EU. Currently based in Dublin, it has become apparent that growing up in different countries whilst speaking five languages develops a defined perception of differences, interrelations and understanding for subtle mannerisms within language.
Due to my everlasting and naturally unsatisfying pursuit of aesthetic neutrality, I have no interest in colour or ornamentation. My work is straight forward and I aim to be as precise as possible within its concepts.
‘frustration & control’ - my last solo show at the LAGE, serves as an overall review of my practice to date. The frustration of reading, decoding and deliberate misunderstanding in, or intentionally out of balance with the control over what is read and how it is digested. My work purposely leaves the viewer with an unsatisfied feeling that is left unresolved.
This year I began to let the tools I use produce the text within my work, for example in my examination of the Google Translate App (Google Translate movies, 2015).
Based on personal aesthetic measurements I used to choose very finicky which words and text-fragments are considered for a piece.
In contrast to nowadays, where I am more and more engaged with computer linguistics and let the algorithms decide which words will be used ultimately. The result is dependent on the type of program used. One of my favourites is the Cleverbot, as one of the most advanced and best trained AI’s it will always try to present you the most adequate human answer. This script is a prime example of the ambiguities in linguistic theory and the subsequent approaches in computer linguistics.