ceramic, cotton, gouache, wax
H. 17 x w. 19 x d. 27 cm
About Anastassia Zamaraeva
"For Anastassia, the draw of clay is in its innate ability to connect us to our unconscious and past experiences of touch. Her practice focuses on how working with her hands, in direct contact with clay, can allow for processing and expression of personal and communal experiences. Anastassia's work is led by intuition and a sense of play. It explores the multifaceted experience of being human; with all its melancholy, discomfort and humour."
Anastassia Zamaraeva is a sculptural ceramic artist based in Manchester, UK. Originally from Russia, her family relocated to Canada when she was 6 years old. This was where she was first introduced to clay. It was love at first touch and clay eclipsed all other mediums Anastassia had previously tried.
As an adult, Anastassia took a detour away from ceramics. She completed a BA in Architecture and worked in the profession for several years. However, she found it wasn’t the right field for her and redirected back towards ceramics in early 2018.
Since returning to clay work, Anastassia has advanced her practice in her home studio. Working in isolation has developed her inward gaze, making her sculptures intensely personal explorations. Anastassia has grown an international group of collectors and has exhibited in a number of group shows around the UK.
She has recently completed her Art Psychotherapy MA, which has had a profound influence on her work, resulting in a practice that sits on the meeting point of art and art therapy.
When did you first work with your clay?
A: I tried clay for the first time at the age of 7, in an art school in Canada. For me, it was love at first touch and it eclipsed any medium I’d previously used. I enjoyed the tactile nature of clay and the freedom of making in three dimensions. When I came back to ceramics as an adult, I felt like I should make functional ware and learn to throw on the wheel. In my mind that was the grown up way of approaching clay. However, I gradually found myself gravitating back to making imagined creatures and expressive sculptures. One of the big joys of working in clay is that it allows me to connect to my inner child and the things that were (and are) important to her.
What are your biggest influences?
A: A lot of my work deals with archetypes and the collective unconscious. I like to think of my art practice as channelling of all that I experience and the things that others around me experience. I believe in the interconnection between all living beings and I express that through my own specific lens.
Tell us more about your recent series, when did you begin this and how has
A: The pieces exhibited in the Thrown Winter Exhibition are part of my ‘Wild, domesticated’ series. They explore the internal tension, the internal tension I feel between wildness and order. When the parts of me that want order try to suppress the wild parts, tension gradually grows. The wild in me attempts to fit a mould, become more human. And this comes at a cost and with a loss.
These pieces serve as a reminder that there’s a way for these parts to coexist if one does not try to suppress the other. It’s an ongoing process so making domesticated pieces gives me lots of moments to check in and consider how well I’m listening to both the wild and the ordered.
top of page
bottom of page