Monday 8 November 2021

A State of Uncertainty: The Pioneer

For ‘A State of Uncertainty’ Soviet-Era photographs echoing childhood images of my relatives from the 60s were recreated.

The Pioneer 

The school uniform was recreated using a hodge-podge of contemporary garments, referencing old Soviet photographs of my auntie,  whilst the Lenin badge, Pioneers cap and Cheburashka are genuine 60s antique Soviet articles which I brought over from my grandmothers house over a decade ago. 






A State of Uncertainty Installation

A State of Uncertainty 

The exhibition is dedicated to my mother, who was brought up in the Soviet Union amidst circumstances of turmoil and trauma both domestically within her household and on a grand political scale. Her experience is an intense narrative of growing up in 1970s Soviet Russia amidst a rigid set of social conditioning, whilst being raised within a violently patriarchal household before fleeing an uncertain and chaotic Russia of the 90s. 

Within this first iteration of the series, I could only start at paying homage to the stories I’d heard from her, and the photographs I’d seen and remember seeing as a child. Each recreated photograph is a story of a moment in history, of her experience, and her mother’s (my grandmother’s) experience, and each has a backstory that holds both my own nostalgia, and the ghost of a lived history. Our generational Russian memories are interwoven; mushroom picking in the forest as a form of therapy, sad birthday parties that always ended in tears, school portraits with Lenin badges as implicit propaganda hung proudly on faded wallpaper, debutante portraits against the new family curtains, gherkins in the kitchen, the new birthday toy - a hula hoop! 

Then into the future; the rebellious teenage years and seductive poses pulled from 80s magazines, folk costumes to preserve heritage, a suitcase packed for an approaching escape. Underneath it all is the confusion, the depression, the weight of family life, the repetition of cooked meals and the dull ritual of peeling potatoes, the violent father, the oppression of society, the iron curtain, the fantasy for freedom and escape from the mundane. The sentimentality that comes with nostalgia and the pained feelings of familiarity; are the soft light of the lamps, the rosy wallpaper, the warm reds, the smiling ghosts.

Installation | Asylum Studios | October 2021



THE MAKING OF 'DELPHYNE'

Last summer I shot my first theatrical, scripted narrative 'Delphyne' set in rural Suffolk. The script is stylised in a theatrical form, taking the works of Russian writer Ludmilla Petrushevskaya as a background. The tone draws on Petrushevskaya’s depictions of intense female-driven, claustrophobic family relationships particularly between generations of women who pull at each other in close quarters. There is a fairy-tale element to the progress of the film, akin to the works of Petrushevskaya, and relating to my own Russian heritage and sense of displacement. I wanted to echo that in the nature of rural Suffolk and tie in a local folk atmosphere and elements of tradition, creating a strange bridge between Russian culture and rural England in the film; through the folk music, costume, focus on nature and element of ‘period’ where the setting appears timeless, caught between present day and an undefinable past. Through this lack of definable period/era to the film, I wanted to express how the issues around female bodily shame persist through the ages, and that the depiction of female physicality and sexuality still sits within an archaic framework.