They are reminiscent of the still lifes of the Dutch Golden Age i porcelain bouquet That Anna Volkova made by hand in his workshop Amsterdam. Fascinated by the fragility of flowers, the ceramist originally from St. Petersburg found a way to capture their beauty by experimenting with various Chinese recipes until she found her own.
Born in 1974, she completed her studies at the State Academy of Art and Design in St. Petersburg, Russia, in 1998, then graduated from the Rietveld Academy in 2001 and the Sandberg Institute in 2007, both in Amsterdam, Bass.
«Since I was young – she says – I have been fascinated by 17th century Dutch still lifes and their aesthetic philosophies. Living in the Netherlands has allowed me to study Dutch culture firsthand, deepening my fascination with the subject. My still life research became the subject of my master’s thesis and I continue to draw inspiration from the rich visual traditions and techniques of ancient masters.”
You are originally from St. Petersburg but have lived in Amsterdam for 26 years. How have these two cities influenced your work?
My roots are in St. Petersburg, a city whose architecture and cultural heritage have profoundly affected me. I grew up in Soviet times and was raised in a family where my father, a film director, and my mother, a journalist, fostered an atmosphere of artistic and intellectual magnetism. Surrounded by books, art, museums, stories and fascinating people, I absorbed a rich cultural foundation that still influences my artistic identity today.
Moving to the Netherlands triggered a big change. When I started out as an art student, this country’s open, experimental approach contrasted starkly with the more traditional methods I had known. Although I felt overwhelmed at first, the freedom to experiment in Dutch art academies helped me discover my path, with the support of mentors and unlimited access to different materials.
How did you develop your technique? What does it consist of?
There are no secret techniques in my work. Rather, it is a synthesis of methods that I have absorbed and adapted throughout my life. Sometimes I combine seemingly incompatible elements to keep the process fresh and appealing. My work should surprise me. I always start with sketches to develop a theme, but I let the creative process guide me, following intuition and adapting along the way.
Since early childhood I have been attracted to the creative act, continually drawing or making figures in clay and plasticine. Working with different mediums comes naturally to me; each material has its “voice” and I establish a sort of dialogue with it. Over the years, I have explored glass, fiber, plastic, mosaics, clay, understanding their qualities through touch. My hands almost seem to have their own mind and their own intuition for shapes.
Can you describe your creative process?
My creative process always begins with an inspiration for the subject. Then I begin the research and collection of material, followed by an extensive experimentation phase, balanced by a fair amount of routine. Working with porcelain is technically demanding, so it is essential to accept imperfection when carrying out the work. My process typically begins with sketches and concept development, but I leave room for the work to evolve naturally.
I don’t use many tools, especially my hands. The recipes I have developed for porcelain help me maximize the potential of the material. My work is my passion and I immerse myself completely in every project. Once I have a clear image in mind, I start sculpting each element individually, then connect them together into a sculpture.
Creating large compositions with many elements requires an engineering mindset, because I have to assemble each piece like a puzzle. Porcelain shrinks significantly during firing, altering its shape and size, so I need to anticipate these changes. Technical issues often arise at every stage, but I view them as challenges rather than setbacks.
What do you like about flowers and why did you choose to focus on them?
My focus is on the theme of the transitory nature of life. I am often inspired by vanity of the 17th century and their rich metaphorical language. In my work flowers symbolize both the fragility and fleeting beauty of life.
Each flower I create is a miniature sculpture, with its own character and story. My purpose is not to simply recreate flowers; my works instead represent narratives, emotions and moments of transitory beauty. I find that flowers are fascinating for their mix of harmony and impermanence and that they serve as allegories, capable of conveying complex feelings and thoughts.
I also draw endless inspiration from nature, incorporating what I observe into each work. My work is not botanically accurate. The flowers are a figment of my imagination, but often appear realistic to many viewers.
What is your favorite part of your job?
I love the freedom of experimentation: when I’m not focused on the result, I feel like I’m a child again, trying things. I enjoy the sketching phase, capturing an idea or visual form. It’s a magical moment when an idea takes shape. But my favorite part is when all the elements come together, like pieces of a puzzle. QWhen the work is complete, it seems to take on a life of its own.
What does it mean to work by hand with traditional techniques in the digital age?
It feels a bit like I’m living in a parallel reality, though I don’t consider it old-fashioned. I have always followed my own path, without feeling pressured by trends. Sure, the world is fascinated by new technologies, but some things remain timeless. Just as personal contact has proven irreplaceable during the Covid pandemic, there is also something irreplaceable about manual work. A 3D printer cannot replicate an artist’s touch. Indeed, I believe that artisan work is more appreciated and respected than ever. Over time, I believe the work I do will become more unique and exceptional.
What is your relationship with digital technologies? Do you use social media and artificial intelligence in your work?
Digital technologies interest me, even if we have not yet found common ground, apart from photography. I’m a fan of high-quality cameras and today’s phones are amazing at capturing images. With the right apps, I can edit photos in seconds without needing a computer.
I don’t use artificial intelligence in my creative work, neither for sketches nor for other processes. For me, AI is an impressive tool and I hope to explore its potential further one day.
I social media they are useful and stimulating at the same time. While they offer excellent visibility, I find myself placing limitations. I don’t treat them as a personal blog or commercial platform, but as a way to document and present my projects to the public. It is also useful for keeping in touch with friends and colleagues. Luckily I’m not too attached and I don’t spend much time there.
What advice would you give to a young designer or novice craftsman?
The most important thing is to tune into your creative intuition, which will guide you in the right direction. Avoid chasing trends or commercial requests; if you want to create a unique work, it must arise from a personal story. Of course, self-discipline and dedication are essential.
Experimentation is also key: try different themes, materials, processes and presentations. There is pure creativity in the very act of experimentation, an excitement in discovering something new. And the same goes for observation: study what other artists do and what has been done in the past. It is important to learn from the world around us.
Living © ALL RIGHTS RESERVED
Source: living.corriere.it
