Nataliya Zuban |2

“I’ll probably be researching this for the coming two to three years,” says returning resident Nataliya Zuban (UA). A discovery at the start of her residency gave her inspiration for a series of experimental works that she expects to continue for a while. Observing how crater glazes can form larger, foamy volumes in a rather unpredictable fashion, she immediately knew she had to investigate how to use this property to incorporate chance in her sculptures. Using clay sticks she built a kind of scaffoldings for the glaze to grow on. The preliminary result is a fascinating series of drab grey structures with an intense dramatic dynamic, that opens up a whole new field of research.

Nataliya Zuban |1

Nataliya Zuban (UA) is intimately familiar with clay. Hailing from Opishne, the centre of the Ukrainian ceramics production, she grew up surrounded by traditional pottery and folklore-inspired sculptures. The limitations of time-honoured techniques instilled Zuban with a lasting desire to experiment. After a MFA at the Lviv National Academy of Art and several international residencies, she obtained a PhD at Eugeniusz Geppert Academy of Art and Design in Wroclaw, Poland. At ekwc, Zuban has been working on a large commission for a Danish sculpture park inspired by the UN’s 17 sustainable development goals. The two-meter-tall abstract column of interconnected vertical tubes is open to the sky, allowing rain to fill the work. Because the tubes are like corresponding vessels, water levels in all tubes will be equal, in reference to the goal of achieving gender equality. You can see Zuban’s sculpture at the Anneberg Kulturpark in Nykøbing Sjælland, Denmark.

Ksenia Bilyk

When Russia invaded Ukraine again, artist and designer Ksenia Bilyk (UA) knew she had to leave. TransArtists from Amsterdam connected her to EKWC in Oisterwijk and suddenly she found herself working with clay. She press-moulded and embellished two 50-cm-high Urns for Ashes, which criticize a military aesthetics that glorifies violence and death. The urns refer to the Soviet Union’s WW II iconography and Empire-style ceramics. Ksenia will show the urns in Bratislava, intending to damage them and refer them to history, where they belong.