*Please note, this artwork is being represented directly from Maryia's studio in Spain and therefore deliveries to all addresses are stated as 10 working days from purchase. Import taxes may be applicable to different destinations and if so will be charged via customs on import, they are not included within the purchase price however the delivery costs to any worldwide destination is. If you would like to check on delivery timings or would like help finding out about import tax, don't hesitate to get in touch.*
H. 25 x w. 22 cm
From the Terra Cognita series:"Landscape painting always had its place in the hierarchy of artistic genres, being largely a reflection of what an artist sees in the outside world. These representations used to be fairly stable and changed only slightly through time. Now with the drastic transformation that climate change brings, many of these landscapes are disappearing forever."
"My work is an exploration of vanishing terrains around us. I make tactile canvases in ceramics. They are inspired by aerial footage of various lands that are slowly disappearing due to the climate crisis. Feeling helpless and pessimistic, I find solace in producing and reproducing magical landscapes of my imagination in clay. I find that ceramics offers the most direct route from imagination to an object in the world through the body and its material intelligence. Apart from clay coming directly from the depths of Earth, it is representative of the terrain it originates from. It carries within it the mineral marks and organic traces of history of a particular patch of land. I capture and frame these fragments of terrain to make them art - a material object stretching beyond individual memory.
About Maryia Virshych
"I tend to worry and overthink in my daily life. So in the studio, I find solace in working intuitively, without a sketch. This is one of the reasons I choose ceramics as my medium. I find that it offers the most direct route from imagination to an object in the world through the body and its material intelligence. I have an idea and I try it out - see if clay agrees with my directions. More often than not, it doesn’t. Then we have to reconsider and find a compromise.
"I am fascinated with the landscape painting genre, and how this very traditional theme can evolve to reflect all the complexities of modern man-nature relations - with the drastic transformation that climate change brings, many of the lands are disappearing forever. I wish to capture this radical deterioration and change in ceramics. Using clay gives a tangible aspect to an abstract idea of a landscape; its roughness or softness can be appreciated by hand. I always keep in mind that clay is part of Earth; so I want to lean into its earthy properties, not forcing artificial refinement but rather listening closely to its natural flow."
"I see my work as a practical wish to know that, which is becoming unknowable."
Maryia Virshych (b. 1989, Minsk, BY) received her Design Research MFA from the Bau Design College in Barcelona, Spain (2016) and a BA in Architecture from Belarusian National Technical University (2012).
Maryia has a background in architecture, space and product design, and craft; all of which reflects on her current work. She held positions as a creative at Jordi Canudas Studio, Curro Claret Studio, Fundació Antoni Tapies and Dada Studios. In 2019 she started her own artistic practice - virmary, working primarily with ceramics.
Maryia is a recipient of numerous awards, such as Design Award from Royal Society of Art and Residency Award from Domaine de Boisbuchet. She showed her work at various collective exhibitions: 1000 Vases (Paris, FR), Toussaint at Palais Galerie (Neuchatel, CH), Hangar (Barcelona, ES), Sala d’Art Jove (Barcelona, ES), Cluster Crafts (London, UK), Milan Fashion Week, etc.
What are you thinking about when you start making each piece? Do you work in series?
M: When I start making each piece, I'm thinking a lot about nature, landscapes and how the Earth's surface looks and feels. I've been looking at pictures of the Earth from above, which show the land and its different shapes and colours. These pictures inspired my latest series of abstract landscapes called "Terra Cognita."
I enjoy working in series because each piece influences the next one. Building on the same idea leads to various creative solutions for similar challenges.
Tell us more about your recent series, when did you begin this and how has it developed?
M: I began working on the "Terra Cognita" series almost two years ago. Before that, I used to create mainly three-dimensional objects like pots and decorative items. But making flat artworks presented new challenges, and it took me about a year of learning and experimenting to create the first piece in this series that I was happy with.
Do you plan each piece in advance or do they develop intuitively?
M: When it comes to making each piece, I don't always have a fixed plan. Some pieces are carefully thought out in advance, while others come about more spontaneously. Sometimes, I let the material I'm working with guide me, and I try different things with clay to see where it takes me. Surprisingly, these accidental discoveries often turn out to be exactly what I was looking for.
How important is tactility to your work?
M: The texture of my work is really important to me. I pay special attention to how the surface feels, and I want people to touch it. Hanging the work on the wall inadvertently creates a certain distance between the viewer and the artwork. And I am very interested in the tension created by a presumed forbiddenness of touch and an invitation to break the rules and lay your hands on the work.
top of page
bottom of page