September 2020

40x40x40 cm

apoxie sculpt, metal armature

Golem

“Annihilation” explores climate change and the extinction of endangered animal species. I portray the animals within their natural habitats, moving from bold, fully rendered forms to delicate linear drawings that gradually dissolve—symbolizing their disappearance from the natural world.

"Annihilation"

“Golden Circus” explores a world of visual echoes and opposing forces: tiger and zebra share stripes yet stand as predator and prey, while mechanical structures mimic the shapes of plants. These parallels unfold in a shifting circus where the familiar becomes strange, unsettling our perceptions and blurring the boundaries between harmony and conflict.

Golden Circus"

“All Stars Aligned” reimagines the zodiac signs as psychological archetypes, embodying qualities such as courage, imagination, strength, and softness. Placed within a shared multiverse, these characters interact and play, exploring how seemingly contrasting traits can coexist within one universe—and within ourselves.

"All Stars Aligned" 

“In Bloom” explores the games of ego that shape our relationships—the ways we draw closer, pull away, and turn intimacy into strategy. Like moves on a chessboard, our gestures can become calculated, obscuring the connection we seek. The painting asks what becomes possible when we set aside the need to win and meet each other with an open heart.

"In Bloom"

“Hedonist Spa” is a playful reflection on daily affirmations and the pursuit of feeling good. Incorporating my favorite quotes from the Dalai Lama, The Daily Stoic, and other philosophical sources, the painting reminds us to loosen our grip, enjoy small pleasures, and make room for ease amid everyday pressures.

"Hedonist Spa"

“Connected” explores the longing to feel seen in a world of constant communication and emotional distance. Two fragmented faces meet amid an intricate network of looping forms, reflecting our need for intimacy and belonging.

"Connected"

 Light from a neighbor's yard

Alien is a community-focused project centered around collaboration and connection. Welcome to our World.

Die Straßen Braut

Urtica dioica

Capsella bursa-pastoris

When I first addressed the topic of Neophyte in my artist book Capsella bursa-pastoris, I realized that our paths would cross in the long term. Neophyte are the immigrants. Plants that consciously or unconsciously crossed the Atlantic after 1492 are referred to as such. 
Despite their many uses, they are unpopular and undesirable with many botanists because they spread very widely. 
With the collected plant parts, I dye the yarn and cotton and embroider them with works with text, line and shape. First I work with Solidago canadensis and Solidago gigantea. Both of these plants, which originate from North America, are found in large numbers here. 

They were used by the Indians of North America as medicinal and dye plants. Here they are accused of conquering the habitat of the native plant – Solidago virgaurea. 
The golden-yellow Solidago, which I discovered in Tulln, near the Danube, and the radiant but ephemeral color that they produce and throwing the story about the goldenrod in a pot were the starting points for starting exactly with the goldenrod. 
In the development process of this project I would like to ask further questions and address Neophyte, which have quartered here, or are no longer considered as such. Why are wild plants not used instead of being destroyed? 


NEOPHYTEN (NEOPHYTES)

Between sound and silence

When I was little, I learned to sew and embroider from my grandma. There, on the carpet with an oriental pattern in her studio, I was allowed to use the remains of fabric, lace, elastic bands, etc. Sometimes her customers came by after work. Mostly women from the village to try out their new clothes. Another time they brought new fabrics and discussed what would become of them. 

I was really looking forward to the new fabrics and watched with excitement as they were unpacked. Every now and then the grandma stopped by to suggest possible improvements or even to check my sewing work a little more critically. She has a strong sense of aesthetics. 
In May the hearts of the Capsella bursa-pastoris grow everywhere even in teh City. They often come in very large groups, which is why in many countries around the world it is called a neophyte. Up to 4 generations are possible annually. The plant is annual, producing over 60,000 seeds during its lifespan. That is why it is also classified as invasive. Despite its extraordinary properties and possible uses, the shepherd's purse has been forgotten. 


With my artist books about wild plants, I want to arouse interest in this hidden knowledge and problematize behavior towards wild plants. 

When I first addressed the topic of Neophyte in my artist book Capsella bursa-pastoris, I realized that our paths would cross in the long term. Neophyte are the immigrants. Plants that consciously or unconsciously crossed the Atlantic after 1492 are referred to as such. 
Despite their many uses, they are unpopular and undesirable with many botanists because they spread very widely. 
With the collected plant parts, I dye the yarn and cotton and embroider them with works with text, line and shape. First I work with Solidago canadensis and Solidago gigantea. Both of these plants, which originate from North America, are found in large numbers here. 

They were used by the Indians of North America as medicinal and dye plants. Here they are accused of conquering the habitat of the native plant – Solidago virgaurea. 
The golden-yellow Solidago, which I discovered in Tulln, near the Danube, and the radiant but ephemeral color that they produce and throwing the story about the goldenrod in a pot were the starting points for starting exactly with the goldenrod. 
In the development process of this project I would like to ask further questions and address Neophyte, which have quartered here, or are no longer considered as such. Why are wild plants not used instead of being destroyed? 




Solidago - die Wanderin (Solidago - the hiker)

2012, Tokyo. 
During my stay in Tokyo, I often traveled to the town called Kamakura. I liked the tranquility of the gardens of the hidden temples, the changes in the vegetation during the seasons and the sound of the sea, which was reminding me of my hometown. 
To enjoy the peace, I often walked through the forest, where there were few tourists. Curiosity took me on unknown paths. 
On one day, at some point I didn't know where I was anymore and had neither internet nor a city map. The sun slowly made its way to the west. The fear of darkness and uncertainty started to increasing me. On my way back to the city, I saw a sign for a temple. As if this place had drawn me to itself and despite the nervousness I had to go in for a short time. A narrow tunnel led me into the site of the temple. 
The rooms of the temple were carved into the rocks. It felt cool and humid. No one was there. I could hear the sound of the stream that was running through the rocks. As one of the rooms was open my coriusity grew, to get in I had to bend down. Garlands of thousands of cranes were hanging from the ceiling, stacked one inside the other. The garland hung heavy like colorful waterfalls, very close to each other, so that alone, in the rocky space felt even closer! Every crane was a prayer.
In this hectic city someone had invested so much time in doing this "senseless" job. Tokyo was fascinating me with all  its contrasts for my whole stay. 
The energy in this room, the empty thoughts and indescribable feelings (then and still today)  got awakened in me and they are rising in me every time I think about it.

With the beginning of the first lockdown I was at the point of wanting to start a new project. The new situation developed very unexpectedly and in the beginning it blocked my thoughts and considerations about artistic activities. In order to deal with the pressure of the media and the constant presence of our family of four, I had to rethink my artistic work. 
In these stressful situations in my thoughts I came back to Japan. Inspired by the Japanese legend Sembazuru, in connection with this personal experience in Kamakura and the lockdown in Vienna, I started sewing on my new project. 
The Japanese legend Sembazuru says, that the one who folds 1000 paper cranes, will get a wish from the Gods accomplished.
So I started on sewing my cloth marbles. To bond the cloth marbles to the legend I decided to use the number of 1000. 
In the beginning I calculated how many pieces I have to produce daily to reach the number of 1000. To enjoy the process and let the preassure go I chose for the way and not for the goal. On some days I sewed 10 marbles, on others 4, 1 or none. In the calendar I wrote down the number of succesfully done marbles instead of the jobs I needed to cancel.
I made them out of white fabric scraps I had at home and filled them, at the beginning with cotton, then with pieces of any white cloths I had in my fabric collection. Over time I started playing with the structure of the materials, stitching another structure of the marbles and cutting two more sizes. 
Because  every fabric feels different, has its own history and every stitch of the needle is handmade, every ball brings a special experience. For me, the fabric marbles are like snowflakes: all the same and each one unique, if you study them carefully.
The cloth marbles have not reached the number of 1000 yet. 


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katya dimova

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