Maria Volokhova (Ukraina / Germany)

Maria Volokhova (Ukraina / Germany)


Terlahir di Kiev, Ukraina, Volokhova saat ini tinggal dan bekerja sebagai perupa di Berlin, Jerman. Ia mula-mula mendalami minat di seni grafis sebelum kemudian menekuni medium keramik dan terakhir lulus dari fakultas keramik Tokyo Art University, GEIDAI, pada tahun 2009. Karya-karya Volokhova hadir mensubversi fungsionalitas teko sebagai bejana dan produk olahan keramik yang lazim. Ia menghadirkan estetika anatomis bagian dalam tubuh sebagai bentuk modifikasi terhadap gubahan-gubahan tekonya. Membuatnya menjadi bermutasi ke berbagai bentuk hibrida, dan seolah membalik persepsi luar-dalam, persoalan mengolah-menerima, serta tentang wadah dan isi.

Maria Volokhova akan menjalankan program residensi JCCB4 di PT Sango Ceramics, Semarang, pada Oktober 2016.

Born in Kiev, Ukraine, Volokhova currently lives and works as an artist in Berlin. She initially studies printmaking before later focusing in ceramics, graduating from faculty of ceramics in Tokyo Art University, GEIDAI, in 2009. Her works plays with and subverts the functionality of the teapot as a conventional ceramics product. She combines them with aesthetics borrowed from some particular anatomical features, modifying the teapot by replacing and adding features swapped with internal organs, skeletons, even fetal shapes. They become certain hybrids which challenges the perception of the inner and the outer, between processing and receiving, and about the vessel and the content.

 Maria Volokhova did her JCCB4 Residency program in PT Sango Ceramics, Semarang, October 2016.


During my Indonesian Ceramics Biennale artist residency I was sent to “Sango”, the biggest ceramics producer in Indonesia for tableware and sanitary products.

It was the sanitary products department that attracted my attention during my first visit to the factory. The shapes and forms of future closets and sinks were drying upside down on special shelfs. They looked like creatures from science – fiction movies. Some of them reminded me of human heads inclining towards one another as though in some kind of inaudible dialogue.

For my artist residency at the Sango factory for Jakarta Ceramics Biennale I decided to combine industrial production and artistic craft and conceptions: by turning the usual closet upside down, I altered its functionality. This changed both the meaning of the object and how it was perceived. I used the specific technical environment of the factory as well as its stock of decal images.

The factory’s surroundings and environs also inspired the project. I reflected on the factory workers, the mopeds they used to get to and from work (largely because of the limited public transit system), their helmets, and the multicoloured batik shirts and hijabs (headscarves) worn by the female workers.

My project turned the most common type of the closet (standing closet) in Indonesia upside-down by transfiguring it into an imaginary ‘human’ head. There are female and male CLOBOTER types. While the male CLOBOTER resemble race car drivers, the female CLOBOTERS wear traditional Indonesian batik patterns. Using the new technology at the factory I was able to change the original colors of the hardware (closets) and software (decals) to create bright and glossy colours, which are rare in a creamics industry.

Working at the decoration department of the factory I was able to observe the daily life and working conditions in the factory.  I realized soon that my intuitional choice of the closets and parallels to a human being helped me think about the conditions of workers developing countries like Indonesia.

My idea for this special project for Jakarta Ceramics Biennale 2016 was to convey and communicate these impressions of Indonesia as it was my very first time in this country.