On November 11, LOBBY will be hosting an opening of the personal exhibition of Masha Egorova, an artist of the Ob’edinenie online gallery. The show will feature a series of ceramic objects – vases, flat dishes and tactile shapes.
Every object touched by the loved being's body becomes part of that body, and the subject eagerly attaches himself to it.
— Roland Barthes «A Lover's Discourse: Fragments»
A vase is one of the most important forms. It is a vessel, a storage container; an open space for the eyes on one side and an internal one, hidden from outsiders on the other. A vase filled to the brim with nectar. A vase as a symbol of eternal harmony, and a sheltering vessel for all constellations. An object to collect water for washing hands before prayer, wedding ceremony. This is what encompasses the beginning. A symbol of the heart, the animating power of nature, purity. Masha's vases are kept in a country garden – in a place of secrets. The garden is like a memory that does not fade because it is endlessly relived.
— Anna Mikheeva, the curator
One of the main memories is falling in love. The splitting of consciousness formed before this; the moment you do not recognise yourself because the past does not exist – love has turned over the whole space. It is a fusion with the other, a desire. «Love admiration is a kind of hypnosis: I am fascinated by the image.» Here this image takes shape — you can touch it, you want to study it, sense it again, move it, lift it and feel the weight.
Masha's works are the opposite of the classical idea of ceramics as pottery production. Roundness, softness, densification and narrowing, thinning and layering — there is no place for strict forms and predictability. It is an absolutely glossy glaze, like a completely wet and fresh form that reflects the space around it; you want to touch it as soon as you get closer.
Masha not only recognises the functionality of her objects, but the artworks themselves seem to proclaim that the seemingly simple common form is above any strict distinctions between the utilitarian and the artistic, the private and the public, concept and pleasure. Through such smoothness and ductility, Masha creates a poetic space where the viewer can freely pause and return, scrutinise the objects or fall into his own memories.
On November 11, LOBBY will be hosting an opening of the personal exhibition of Masha Egorova, an artist of the Ob’edinenie online gallery. The show will feature a series of ceramic objects – vases, flat dishes and tactile shapes.
Every object touched by the loved being's body becomes part of that body, and the subject eagerly attaches himself to it.
— Roland Barthes «A Lover's Discourse: Fragments»
A vase is one of the most important forms. It is a vessel, a storage container; an open space for the eyes on one side and an internal one, hidden from outsiders on the other. A vase filled to the brim with nectar. A vase as a symbol of eternal harmony, and a sheltering vessel for all constellations. An object to collect water for washing hands before prayer, wedding ceremony. This is what encompasses the beginning. A symbol of the heart, the animating power of nature, purity. Masha's vases are kept in a country garden – in a place of secrets. The garden is like a memory that does not fade because it is endlessly relived.
— Anna Mikheeva, the curator
One of the main memories is falling in love. The splitting of consciousness formed before this; the moment you do not recognise yourself because the past does not exist – love has turned over the whole space. It is a fusion with the other, a desire. «Love admiration is a kind of hypnosis: I am fascinated by the image.» Here this image takes shape — you can touch it, you want to study it, sense it again, move it, lift it and feel the weight.
Masha's works are the opposite of the classical idea of ceramics as pottery production. Roundness, softness, densification and narrowing, thinning and layering — there is no place for strict forms and predictability. It is an absolutely glossy glaze, like a completely wet and fresh form that reflects the space around it; you want to touch it as soon as you get closer.
Masha not only recognises the functionality of her objects, but the artworks themselves seem to proclaim that the seemingly simple common form is above any strict distinctions between the utilitarian and the artistic, the private and the public, concept and pleasure. Through such smoothness and ductility, Masha creates a poetic space where the viewer can freely pause and return, scrutinise the objects or fall into his own memories.
