Olesia Kryvolapova
During the Summer Exhibition, I had the opportunity to present the combined results of my work to date. I created an installation composed of various elements from my research, transforming pieces of old furniture into sculptural components arranged to evoke a surreal, fragmented memory of a living space.
I intentionally exhibited these furniture elements separately from the prints, allowing them to form an independent yet interconnected spatial narrative.
This approach highlighted the contrast between material remnants and printed imagery, reinforcing the idea of fragmented memory and its layered relationship to physical space.
The series of twelve etchings was displayed in a way that recalled the informal manner in which children’s artworks are often pinned to walls. I used small clothespins and strips of fabric to hang the prints, further contributing to the atmosphere of an improvised domestic environment. This method of presentation supported the overarching concept of memory as something both intimate and unstable—simultaneously personal and collective, structured and improvised.
Continuing my concept, I displayed the pieces of ceramic in improvised drawers, which reinforced the narrative of preserving and sorting fragments of the past.
At that point, the Summer Exhibition provided an ideal opportunity to present the progress of my project. However, I realised that by focusing primarily on my personal memories, I had overlooked the broader connection between the past, present, and future. To address this, I decided to expand my research by examining and comparing my personal recollections with the current reality.