Telephone
The installation consists of six objects:
Porcelain cast of a cup from the opening of the first McDonald's restaurant in Moscow
Porcelain cast of a Jean Paul Gaultier perfume bottle (2000s)
Porcelain cast of a collectible Coca-Cola glass
Porcelain cast of a disposable plastic cup
Porcelain cast of a crushed tin can
Porcelain cast of a Soviet dry goods storage container
Installation dimensions vary.
This is a children’s game of “string telephone” — the kind where you speak into a cup in order to be heard. The cups are made of porcelain, cast from molds of objects that were once ordinary and held no particular significance for anyone: a plastic cup from the first McDonald’s in Moscow on Pushkinskaya Square, a cup from the Olympic Games, containers for dry goods, a perfume box, an old tin can. Objects that simply existed alongside us and therefore became memorable. The artist is interested in how memory — both personal and collective — is held within such small details. In sounds we once did not even notice. If you hold this “telephone” to your ear, you might hear: the hiss of a dial-up modem, the opening sequence of the “Vremya” news program, the sound of a video cassette being rewound. Once, this was a shared background — a wordless language spoken by an entire generation. Now these sounds have almost disappeared.
Engaging with the “Telephone” becomes less a way of hearing something than a way of listening to yourself. An attempt to assemble a sense of self from fragments — from sonic traces that no longer exist.
In her practice, Katya focuses on how elusive inner states can take on material form. She works with bioplastic, ceramics, and objects that evoke vessels of experience: capsules, cassette tapes, everyday forms, shells, and surfaces.
She is interested in the moment when a personal experience ceases to be solely personal and becomes recognizable to others. To this end, she turns to simple, familiar forms and materials capable of holding fragility, anxiety, the passage of time, and traces of human presence.
In these works, the body and consciousness emerge as spaces of limitation, memory, and resistance: as repositories of experience that both define boundaries and seek ways to transcend them.
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