When Elizaveta first encountered ceramics, she immediately fell in love with the potter’s wheel — largely thanks to her teacher, Alexander Shafirov.
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While her primary focus remains sculpture, the wheel continues to play an important role in her practice.
Although pottery is traditionally associated with utilitarian craft, Elizaveta challenges this perception. In her work, the vase becomes a canvas for experimentation with ceramic surfaces — and also a point of departure beyond the limits of conventional craftsmanship. Here, she reveals that pottery holds immense creative potential, waiting to be discovered by those willing to explore it.
Series "Caskets" 2014-2016
Ceramic, chamotte, wood, pottery, modeling, glaze,
Ceramic, chamotte, wood, pottery, modeling, glaze,
electric kiln firing 1200 degrees.
electric kiln firing 1200 degrees.
about 20*20*20 cm
about 20*20*20 cm
This series marked a turning point in Ielizaveta’s artistic journey — a transition from utilitarian pottery to sculptural ceramics. For a certain period, it defined her creative position and was actively presented at international exhibitions, competitions, and in museum collections.
The first piece in the presentation — a blue cascet— was exhibited at "Ceramic World of the Silk Road", held in one of the palaces of the Forbidden City in the heart of Beijing. The exhibition took place within the framework of the Macsabal Wood Fire Festival. Following the event, the object remained in the organizer’s collection.
This section also includes works created by Ielizaveta in 2016 during her residency at the FuLe International Ceramic Art Museums (FLICAM) in the Fuping Pottery Art Village, one of the world’s most prestigious ceramic art residencies. These and other works became the foundation of the Ukrainian Contemporary Ceramics Museum established on the residency grounds.
The selection further includes pieces made by Ielizaveta during her residency in South Korea, in the city of Samne. These works remain part of the permanent collection of the Macsabal Museum.
The most recent objects in the selection were created in the artist’s own studio in Ukraine, including boxes made using the raku technique.
Series "The Mur" 2014
Ceramic, chamotte, pottery, modeling, glaze,
Ceramic, chamotte, pottery, modeling, glaze,
electric kiln firing 1200 degrees.
electric kiln firing 1200 degrees.
about 20*20*20 cm
about 20*20*20 cm
This series of wheel-thrown ceramics became a field for Ielizaveta’s experiments with form through texture. Traditionally, texture serves as a decorative element applied to an already finished shape. However, in this case, it becomes the starting point — the foundation of the object’s structure.
During the process, an initially abstract form gradually takes on order and structure. The result is an object that balances between sculptural abstraction and utilitarian function. It is a conscious transformation, where chaos becomes the basis for order, and a conceptual approach redefines the idea of functional ceramics.
The series serves as an artistic response to the persistent stereotype that equates ceramics solely with utility.
Series "Vase" 2014-2016
Ceramic, chamotte, wood, pottery, modeling, glaze,
Ceramic, chamotte, wood, pottery, modeling, glaze,
electric kiln firing 1200 degrees
electric kiln firing 1200 degrees
about 30*20*20 cm.
about 30*20*20 cm.
This brief yet intensive period in Elizaveta’s practice was dedicated to vases, which served primarily as a field for experimentation with glazes, surface treatments, and firing techniques.
Using the restrained forms of wheel-thrown vessels as a canvas, the artist explored the possibilities of ceramic color palettes, developing a wide range of glaze recipes.
The presented selection includes works that underwent reduction firing with copper and silver, as well as pieces fired in a wood kiln using natural ash glazes.
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