The "Zoomorph" series is one of the most relevant in the artist’s body of work. In it,Ielizaveta has brought together the developments of previous years, expanding them in both spatial and conceptual dimensions.
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The distinctive feature of this series lies in the author’s technique: previously created objects, fragments of old works, or even elements from other artists’ pieces become the starting point. A finished object or its broken piece serves as a seed from which the image of a new work grows.
This approach opens up an unlimited potential for the search for form: even a random shard contains its own structure, an internal algorithm that the artist is able to develop and guide into a new sculptural solution.
Launched in 2018, the Zoomorph series has undergone many transformations, yet a keen eye will be able to trace its origins and follow the artist’s path leading into the unknown.
"Kiln" 2020
Ceramic, chamotte, elements of a kiln, modeling, glaze, engobe,
Ceramic, chamotte, elements of a kiln, modeling, glaze, engobe,
electric kiln firing 1200 degrees.
electric kiln firing 1200 degrees.
60*51*34 cm
60*51*34 cm
In the work Kiln, the artist used fragments of her own kiln. This kiln was built in 2002, and over the years completed more than 500 firings. At one point, an explosion during a firing damaged the structure. The remnants — broken pieces of the kiln and elements of its heating system — were later inlaid into this sculpture.
For this work, the artist was awarded the highest prize of the prestigious International Ceramics Competition MINO'24 in Japan.
But this award is only the tip of the iceberg. Beneath it lies a deep and captivating story: from the creation of the piece in the studio to its extremely difficult shipment from war-torn Ukraine.
Each stage is an act of overcoming fatal circumstances, woven into the destiny of the artwork.
"Iris doe" 2024
Ceramic, chamotte, pottery, modeling, glaze, engobe,
Ceramic, chamotte, pottery, modeling, glaze, engobe,
electric kiln firing 1200 degrees.
electric kiln firing 1200 degrees.
67*45*32 cm
67*45*32 cm
"This sculpture originates from vases made by Andrii Kyrychenko.
Vessels in the form of iris buds are woven into the shape of a fantastic creature. The technological conflict of reproducing an object is my vision of ceramics. This echnique shows the viewer the plot of the emergence of an imperfect form. An imperfect world requires alternative solutions to give hope.
Woven from flowers, the beast strives for a new life, where all living things are united into a single being by the breath of love."
Ielizaveta began working on this sculpture back in 2021. With the outbreak of war in Ukraine, she was forced to leave the country and found refuge in France. Nevertheless, over time, she returned to her Kyiv studio again and again, completing the piece under the wail of air-raid sirens and the echo of explosions.
It was from war-torn Kyiv that the sculpture was sent to the 63rd Faenza Prize – International Biennial of Contemporary Art Ceramics.
"Forest" 2024
Ceramics, chamotte mass, pottery, modeling, ash glazes,
wood-fired at 1280 degrees.
67*45*32 cm
67*45*32 cm
At the heart of this piece lies a fragment of a broken sculpture by Ukrainian artist Oleksandr Miroshnychenko, who, like many others, was forced to leave his home due to the war. The ceramic forms lie atop one another like fallen bodies — a reflection of the fate that befell those attempting to flee the occupied city of Chuhuiv, Oleksandr’s hometown.
The work Forest was created in Finland during the Värtsilä artist residency and with the support of the organization HIAP in 2024. It was fired in a wood kiln that Oleksandr managed to build during his two years of living there.
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