Ludmilla

Monochrome Series

DECEMBER 6, 2021 – JANUARY 30, 2022

646•693•0279
[email protected]

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MONOCHROME SERIES, NO. 1
2021 TEXTURED CERAMIC 19 1⁄2 H X 9W X 7 1⁄2 D IN LBMS01
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MONOCHROME SERIES, NO. 4
2021 TEXTURED CERAMIC 22H X 12 1⁄2 W X 11 D IN LBMS04
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MONOCHROME SERIES, NO. 9
2021 TEXTURED CERAMIC 26 3⁄4 H X 4 1⁄2 W X 1⁄2 D IN LBMS09
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MONOCHROME SERIES, NO. 7
2021 TEXTURED CERAMIC 18 1⁄2 H X 5 1⁄4 W X 5D IN LBMS07
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MONOCHROME SERIES, NO. 8
2021 TEXTURED CERAMIC 22 1⁄2 H X 15W X 9 1⁄2 D IN LBMS08
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Monochrome Series, No. 6
2021 TEXTURED CERAMIC 12 1⁄2 H X 8W X 6 1⁄2 D IN LBMS06
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2021 TEXTURED CERAMIC 10H X 3 1⁄2 W X 3 1⁄2 D IN LBV0008
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2021 TEXTURED CERAMIC 8H X 8 1⁄2 W X 2 1⁄2 D IN LBV0007
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2021 TEXTURED CERAMIC 10H X 6W X 3D IN LBV0001
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2021 TEXTURED CERAMIC 8H X 8 1⁄2 W X 2 1⁄2 D IN LBV0004
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2021 TEXTURED CERAMIC 9H X 3 1⁄2 W X 3 1⁄2 D IN LBV0011
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2021 TEXTURED CERAMIC 8H X 3W X 3D IN LBV0003
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2021 TEXTURED CERAMIC 9 1⁄4 H X 4D X 4W IN LBV0005
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2021 TEXTURED CERAMIC 11H X 3 3⁄4W X 3 3⁄4 D IN LBV0002
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2021 TEXTURED CERAMIC 8H X 8 1⁄2 W X 2 1⁄2 D IN LBV0010
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2021 TEXTURED CERAMIC 9H X 3 1⁄2 W X 3 1⁄2 D IN LBV0012
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2021 TEXTURED CERAMIC 9H X 7 1⁄2 W X 3D IN LBV0009


“IT’S A BLIND DANCE OF INTUITION AND ABANDON, MOMENTARILY LETTING GO OF SOCIETAL OR SELF-IMPOSED RESTRAINTS, IN ORDER TO REACH ULTIMATE FREEDOM. ”

–LUDMILLA BALKIS

ARTIST STATEMENT

I CHOSE TO MAKE MONOCHROME SCULPTURES TO REDUCE THE VESSEL TO ITS SIMPLEST FORM, THUS ENSURING THE FOCUS IS DRAWN TO THE PHYSICAL ELEMENT THROUGH ABSOLUTE PURITY.

The movement distilled into these pieces were unveiled while I was moving around them, almost dancing with the clay during the process. I could explore the pureness of what the clay had to offer so that the oneness of the process could be felt: movement expressed as a lingering stillness.

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INSTALLATION VIEW, MONOCHROME SERIES, NO. 8, 2021, TEXTURED CERAMIC, 221⁄2 H X 15W X 91⁄2 D IN, LBMS01. PHOTO BY JOERG KOZIOL.

I have an approach that reminds me of working with fabric where clay has a movement around an empty space that could be a body. Treating it as such, I’ve been inspired to work with it very delicately, creating thin-walled sculptures that keep their roughness through their textures or glazes.

I pretty much feel that way working with clay. Invisible, light and so connected to the piece that the borders between body and clay fall away, rendering the soil an extension of my body.

“I WANTED TO CRATE A STATIC IMAGE OF MOVEMENT: MOVEMENT IS AN ABSTRACTION...”

–MARCEL DUCHAMP

I have a particular interest in the traditions of Japanese pottery, taking many of the forms and subtle decorations and translating them into my own work. I remain very drawn to the timeless principles of minimalism and que

I also desire to find the perfect balance between function and beauty; most of my work is therefore freely formed constructions. During shaping I tear, push, slash or pinch the surface to create an unexpected shape that defines the piece.

I spontaneously brush slips or use tools to alter surfaces. I often work on leather hard, I push right through the ceramic body sometimes tearing out pieces of clay and then “repairing” it behind so that a concave surface appears.

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INSTALLATION VIEW, MONOCHROME SERIES, NO. 4, 2021, TEXTURED CERAMIC, 22H X 121⁄2 W X 11D IN, LBMS04
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BALKIS IN HER STUDIO IN AHETZE, FRANCE.
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DETAIL, TEXTURED VASE, 2020

Generally uncolored, the sculptures maintain their natural tonality to reveal their pureness, sometimes lightly brushed with oxides on the rim to accentuate fragility and thinness.

Black also represents space, specifically outer space and infinite space. There is a mystery to things that can’t be defined, or seen, and the color black often accentuates anything with those mysterious or indefinable qualities.