My story
In the deserts of western Morocco, 150 000 years ago, an ancestor bound together snail shells to form the oldest piece of jewelry ever discovered.
Made by a different species of human than ours, it is today being carefully brushed by a modern archeologist, attempting to study its meaning and discover its mystery.
It is this timelessness of a handcrafted object that has always captivated me.
Made by a different species of human than ours, it is today being carefully brushed by a modern archeologist, attempting to study its meaning and discover its mystery.
It is this timelessness of a handcrafted object that has always captivated me.
Born in Mariupol Ukraine, raised in Saint Petersburg Russia, lived in Seoul South Korea, worked in Bangkok Thailand and now exploring Montreal Canada, I hunted my artistic passion wherever it called me.
Studying art and psychology, I was always fascinated by how the environment meets the person and affects one’s state of being - how a piece of jewelry can capture an emotion across generations.
Studying art and psychology, I was always fascinated by how the environment meets the person and affects one’s state of being - how a piece of jewelry can capture an emotion across generations.
Spending a decade creating aesthetic objects and spaces as the atelierista in the Reggio Emilia school in Bangkok, I learned that beauty has an intentionality that is rarely random but instead created when form meets function.
Immersed in urban environments, my aesthetics gravitated towards early 20th century architecture.
The art nouveau world and its incorporation of natural forms into modern designs unleashed my imagination and although I didn’t always have the right words, I saw in the visual arts of Schiele, Kilmt and Beardsley, a way to move beyond language and into the mesmerising world of forms.
Immersed in urban environments, my aesthetics gravitated towards early 20th century architecture.
The art nouveau world and its incorporation of natural forms into modern designs unleashed my imagination and although I didn’t always have the right words, I saw in the visual arts of Schiele, Kilmt and Beardsley, a way to move beyond language and into the mesmerising world of forms.
My process for each piece often takes one of two ways. The first is a drawing or concept based on modernist themes, incorporating natural asymmetries and imperfections to form unique objects.
The second uses a specific technique such as wax carving or fold-forming to explore the natural looks that these methodologies create.
Never compromising function for design, I am always asking “how can you wear this?” which helps me cut away the excess and leads me to simple and clean pieces that are wearable every day. Finally, by actively excluding degradable materials and working only with pure metals, I ensure each object will last a lifetime, and beyond.
The second uses a specific technique such as wax carving or fold-forming to explore the natural looks that these methodologies create.
Never compromising function for design, I am always asking “how can you wear this?” which helps me cut away the excess and leads me to simple and clean pieces that are wearable every day. Finally, by actively excluding degradable materials and working only with pure metals, I ensure each object will last a lifetime, and beyond.
