PROJECTS AND EXHIBITIONS

Practice intuitive knitting. Development of network structures

Teacher: Uliana Rozina

Bruno Latour, a French sociologist of science and philosopher, one of the founders of actor-network theory, developed the concept of "symmetrical anthropology". According to her, objects and people equally participate in the creation of reality: Batur sees the world as a network of interconnections, where both people and things form our common reality.

In intuitive knitting classes, Ulyana Rozina suggested using tactility and meditation to work with the interior as an extension of the urban landscape. The interior of the house, be it curtains, carpets, doormats or string bags, became the starting point for the formation of a large-scale canvas. Cords, household fabrics, remnants of production became his material.

Knitting during meetings has become a unifying practice. Discussions, the creation of group objects and the appeal to memories allowed us to create a safe space for interaction and exchange of experiences.

The participants' knitting project itself became a functional object of space zoning. Here you can get acquainted with books and magazines from the second half of the twentieth century, once designed to form an idea of time. We invite you to join us in thinking about the construction of everyday life.

One of the central images of Karelian embroidery is the Goddess Makosh. It symbolizes the power of nature, its creativity, the ability to generate life and beauty.

Often in embroidery you can see the syncretic figure of the Mother Goddess and the Tree of Life joined together. Therefore, the artist depicted a Makosh with her arms raised, and in her hands were branches and flowers.

This amulet symbolizes spring and a call to the sun.

A knitted Makosh on the gate of the historic Seurahuone building in Sortavala will keep it safe and bring benefits.

Karelia, g,Sortavala, Karelskaya str. , 22

300x150 cm , cotton, polyester, knitting

"In working with copper, I see an opportunity to transform a deep-rooted resource into something modern and unique. The knitting tradition that I inherited from my grandmother also plays an important role in this process. Grandma taught me not only about craftsmanship, but also how important it is to take care of each loop, bringing a piece of myself to the work.

When I pick up yarn or copper, I feel connected to those moments when we created something beautiful and meaningful together."

Copper, which has a long and amazing history, intersects with the tradition of knitting in a surprising way. The most ancient copper, found in the Urals, is considered a symbol of strength and resilience. It was the basis for the creation of many cultural artifacts and represents the strength with which one can build the future. In working with copper, I see the opportunity to transform a resource that has deep roots into something modern and unique. Copper, as a material, symbolizes a connection with history, with traditions that have been passed down from generation to generation.

The tradition of knitting, which I inherited from my grandmother, also plays an important role in this process. My grandmother taught me not only the skill of creating things with my own hands, but also the importance of caring for each loop, bringing a piece of myself to the work. When I take yarn or copper in my hands, I feel a connection with those moments when we created something beautiful and meaningful together. Each knitted product is not just the result of labor, but a reflection of the love and care put into it.

In the context of contemporary art, the idea of transferring images of wooden architecture into knitted carpets is a fascinating journey through times and styles. The Vyaz project strives to unite tradition and modernity, offering knitted carpets inspired by the exquisite elements of classic wooden crafts.

I turn to the rich heritage of wooden architecture, inspired by huts, architraves and patterns, and transform them into unique knitted masterpieces. In each carpet pattern, we see not only the craftsmanship of the past, but also the possibility of rethinking, turning the familiar into something new and amazing.

Particular attention is paid to how a classic floor carpet becomes an object of wall art - a work of art that can decorate and transform a space.

The synthesis of classic wood carving and knitting is manifested in every aspect of the carpets. I use traditional knitting techniques to create exquisite patterns and motifs that evoke ancient crafts and artisans. At the same time, I integrate modern materials and approaches and a special philosophy, creating the art of the carpet. The project is intended not only to draw attention to the rich cultural heritage, but also to show how history can come to life in the modern world through art. The carpets from this collection tell a story, embodying the synthesis of the past and the present in each pattern and in each thread.

Inflatable PVC toys represent joy and pleasure for summer water recreation, but they come to the end of their service life and turn into unnecessary waste. This plastic could pollute the earth for centuries, since it is not recycled in the Sverdlovsk region. This "scam" indicates the false safety of PVC toys.

But there is a solution - upsizing. This is a project to create a series of art objects from hand-recycled inflatable toys, which should become an important reminder of the possibilities of transforming even the most difficult and negative situations into something beautiful and inspiring.

Inflatable toys made of PVC are created for joy and pleasure during your summer holiday by the water. But at the end of their life, they become unnecessary waste. The "swindle" is made from hand-upcycled toys like these. The resulting multi-colored compositions, similar to gasoline stains on water, are a sign of “swindle.” He points out the false availability and safety of both PVC toys and city rivers, as well as the sad consequences for our lives and the environment from our indifference and negligence. Made from recycled toys, The Swindle also celebrates the power of transforming even the most challenging situations into something beautiful and inspiring.

There is a version that “Simbir” (Sinbirsk was the name of the city in the 17th century) is used in the meaning of “sacred mountain”. And knitters of the 19th century. in the Lower Volga (the so-called hosiery women) knitted vatols (blankets) and wove linen products. In creating this object, I would like to pay attention to the traditions of the region and my historical roots and weave a sacred mountain - a symbol of the place. The linen mega installation on the Sviyaga River (Turkic - vit) in the city of Ulyanovsk was created in the format of a laboratory for citizens who want to add a piece of their creativity to the installation being created.

The fairy-tale installation was invented by the artist based on floral ornaments of wooden architecture and Ural-Siberian folk embroidery. The place for work was not chosen by chance; previously there was a wooden hotel of Fyodor Petrovich Loshkomoev here, and Dzerzhinsky Street itself, rich in historical monuments, used to be called Sadovaya. To create a large-scale work, Ulyana Rozina held a laboratory, inviting active citizens of all ages to take part in it. She invited residents to immerse themselves and knit/embroider with crochet or simply with their hands on the mesh surface of the fence plant associations with Tyumen, grandmother’s garden or childhood yard. The resulting ornament symbolizes the unity between nature and the urban environment, building a bridge between folk crafts and modern art.

The town of Chekistov in the city of Yekaterinburg is a monument of constructivism. But it is also a green island in the city center. On its territory there are pre-war trees and rare plants.
The idea for the installation was suggested by the place itself - the ancient flagpoles on the gates of the town have not been used for a long time. I invited residents and guests of the festival to connect the elements of the town’s nature and designed the parts into a single composition. The result is a symbol of the town - a green flag.

A knitted installation made of flax and copper symbolizes a rethinking of the traditions of the times when the Turchaninov-Solomirsky plant was working at full capacity. As you know, only men worked at the plant and processed, among other things, copper. Women in those days took care of the house and processed flax (the Urals have the oldest flax deposits), which provided food and clothing to the entire working family. Just as trees are currently growing through the buildings of the factory, supporting the walls with new strength, my installation as a combination of the masculine and feminine principles, as the birth of a new force, as rebirth supports the walls of the old factory. In addition, the installation symbolizes a new rune, carrying the meaning “beginning”, “perfection”, which gives the plant even greater power.

My works are about new aestheticism and new materiality. I refer to the material itself through tactility, to the problems of creative transformation of material through aesthetics. This is about comprehending beauty and comprehending beauty.

I am interested in the material in the process of transformation - it is a material that can be transformed. His choice is also not accidental: threads are my past, something that I inherited from my ancestors;

pastes and paints are an understandable movable material that belongs to "art".

I use their symbiosis and rift to find new meanings. This is the foundation for rethinking the Ural identity of women's craft as an art.