Albina N

Bivalve’s lullaby is a series of sound-producing sculptures responsive to touch. Presumably covered in petroleum, a deep-black, glossy branch reminiscent of driftwood is an outcome of visual speculations on the possible futures of the marine habitat—one that struggles with oil spills, plastic debris, collapse of ecosystems, accumulation of pesticides and herbicides, heavy metals, and much more. In the current state of ecological crisis, when we have altered and affected such a complex system with significant impacts on marine ecosystems, biodiversity, and directly dependant human communities, it is ready to reciprocate, with steadily rising sea levels. The imagery of a glossy, deep-black driftwood covered with dark-colored seashells becomes a response to speculations and assumptions about the possible futures of a marine habitat. Swinging back and forth, the sculptures resemble rattles to calm your climate anxiety.

Bivalve’s lullaby is a series of sound-producing sculptures responsive to touch. Presumably covered in petroleum, a deep-black, glossy branch reminiscent of driftwood is an outcome of visual speculations on the possible futures of the marine habitat—one that struggles with oil spills, plastic debris, collapse of ecosystems, accumulation of pesticides and herbicides, heavy metals, and much more. In the current state of ecological crisis, when we have altered and affected such a complex system with significant impacts on marine ecosystems, biodiversity, and directly dependant human communities, it is ready to reciprocate, with steadily rising sea levels. The imagery of a glossy, deep-black driftwood covered with dark-colored seashells becomes a response to speculations and assumptions about the possible futures of a marine habitat. Swinging back and forth, the sculptures resemble rattles to calm your climate anxiety.

Bivalve’s lullaby is a series of sound-producing sculptures responsive to touch. Presumably covered in petroleum, a deep-black, glossy branch reminiscent of driftwood is an outcome of visual speculations on the possible futures of the marine habitat—one that struggles with oil spills, plastic debris, collapse of ecosystems, accumulation of pesticides and herbicides, heavy metals, and much more. In the current state of ecological crisis, when we have altered and affected such a complex system with significant impacts on marine ecosystems, biodiversity, and directly dependant human communities, it is ready to reciprocate, with steadily rising sea levels. The imagery of a glossy, deep-black driftwood covered with dark-colored seashells becomes a response to speculations and assumptions about the possible futures of a marine habitat. Swinging back and forth, the sculptures resemble rattles to calm your climate anxiety.

Series of hand crafted embroideries Challenger’s series is a continuation of the project based on the exploration of the Northern Sea. This series of embroideries tells a story of unexpected findings, mutated organisms collected in the deep sea waters. Initially, the motifs for the embroideries are based on the illustrations documenting the voyage of the HMS Challenger. The Challenger expedition of 1872–1876 was the first scientific program to explore the deep seas on a global scale. That expedition played a major role in modern oceanography, laying the foundation of that scientific discipline. The Challenger brought up the idea of viewing the ocean as a large and complex ecosystem on which all life on Earth depends.

Series of hand crafted embroideries Challenger’s series is a continuation of the project based on the exploration of the Northern Sea. This series of embroideries tells a story of unexpected findings, mutated organisms collected in the deep sea waters. Initially, the motifs for the embroideries are based on the illustrations documenting the voyage of the HMS Challenger. The Challenger expedition of 1872–1876 was the first scientific program to explore the deep seas on a global scale. That expedition played a major role in modern oceanography, laying the foundation of that scientific discipline. The Challenger brought up the idea of viewing the ocean as a large and complex ecosystem on which all life on Earth depends.

Series of hand crafted embroideries Challenger’s series is a continuation of the project based on the exploration of the Northern Sea. This series of embroideries tells a story of unexpected findings, mutated organisms collected in the deep sea waters. Initially, the motifs for the embroideries are based on the illustrations documenting the voyage of the HMS Challenger. The Challenger expedition of 1872–1876 was the first scientific program to explore the deep seas on a global scale. That expedition played a major role in modern oceanography, laying the foundation of that scientific discipline. The Challenger brought up the idea of viewing the ocean as a large and complex ecosystem on which all life on Earth depends.

Spatial construction Дом (dom) - in translation from Russian means “home.” Dome is the first work made as part of the sea project. It was the most urgent object I had to build. The dome was meant to be a house, a safe space for the imaginary deep-sea creature - the main character in the suggested underwater narrative. Initially, the whole story starts from my personal phobia of open waters. Unfortunately, I am cursed to see the beauty of the sea and dive into a deep sense of melancholy at the same time. This mysterious and alluring habitat, which once was a home, I now see as hostile and profoundly sad. To change the power dynamics in my personal relationship with such natural phenomena as the sea, I built an imaginary narrative. I tell a story where, instead of being a victim, I acquire powers and become a gigantic, long-living, hunting, and unconditionally fearless deep-sea creature.

Spatial construction Дом (dom) - in translation from Russian means “home.” Dome is the first work made as part of the sea project. It was the most urgent object I had to build. The dome was meant to be a house, a safe space for the imaginary deep-sea creature - the main character in the suggested underwater narrative. Initially, the whole story starts from my personal phobia of open waters. Unfortunately, I am cursed to see the beauty of the sea and dive into a deep sense of melancholy at the same time. This mysterious and alluring habitat, which once was a home, I now see as hostile and profoundly sad. To change the power dynamics in my personal relationship with such natural phenomena as the sea, I built an imaginary narrative. I tell a story where, instead of being a victim, I acquire powers and become a gigantic, long-living, hunting, and unconditionally fearless deep-sea creature.

Documentary pictures from the research trip to Albania in 2024 to see the ecological impact of growing tourism caused by social media promotion campaign. / Plastic island found in the Drin River - the only way for tourist to rich the starting point of the most promoted hiking rout.

Documentary pictures from the research trip to Albania in 2024 to see the ecological impact of growing tourism caused by social media promotion campaign. / Encounter with the packhorses carrying tourists’s suitcases on the hike across the mountain range between the villages Valbonё and Theth.

Series of documentary photographs from the research trip to Albania in 2024 aimed to see the ecological impact of growing tourism caused by social media promotion campaign.

The writing is an overview of development of the human-nature relationships through the prism of science, humour, and self-reflection.

The writing is an overview of development of the human-nature relationships through the prism of science, humour, and self-reflection.

The writing is an overview of development of the human-nature relationships through the prism of science, humour, and self-reflection.

The writing is an overview of development of the human-nature relationships through the prism of science, humour, and self-reflection.

An abstract poem inspired by personal experience of moving to the Netherlands and adjusting to the realities of new culture, new weather conditions, and new daily routine.

Salt rocks undergo a long geological formation process which contains multiple stages. Firstly, eroded sediments sink into the water and end up on the bottom of lakes, seas and oceans. Thousands, sometimes millions, of years of deposition leads to a build up of sedimentary layers. Besides mining, there is another way of collecting salt. Harvesting from bodies of water - seas, oceans, and lakes. This process requires the excavation of pools where saltwater can be captured and evaporated by the sun and wind. The evaporation process leaves behind layers of salt crystals that can only be harvested at certain times of the year. In contrast to elements in the natural environment - such as the sun’s heat and the wind - in the artificial setting radiators, and air conditioning within the space exist. So too does the presence of the viewer affects air movement. Whilst the transformation of salt from solid to liquid, and back to solid state in the natural world usually takes a long period of time, the installation has accelerated this process to a matter of days. Just as labourers must wait for the right time of year, the change in the work requires patience to see the metamorphosis. The difference in the speed of dissolving in every object invites to navigate through space, to pay attention to the small details, and truly examine the minutiae of the change.

Salt rocks undergo a long geological formation process which contains multiple stages. Firstly, eroded sediments sink into the water and end up on the bottom of lakes, seas and oceans. Thousands, sometimes millions, of years of deposition leads to a build up of sedimentary layers. Besides mining, there is another way of collecting salt. Harvesting from bodies of water - seas, oceans, and lakes. This process requires the excavation of pools where saltwater can be captured and evaporated by the sun and wind. The evaporation process leaves behind layers of salt crystals that can only be harvested at certain times of the year. In contrast to elements in the natural environment - such as the sun’s heat and the wind - in the artificial setting radiators, and air conditioning within the space exist. So too does the presence of the viewer affects air movement. Whilst the transformation of salt from solid to liquid, and back to solid state in the natural world usually takes a long period of time, the installation has accelerated this process to a matter of days. Just as labourers must wait for the right time of year, the change in the work requires patience to see the metamorphosis. The difference in the speed of dissolving in every object invites to navigate through space, to pay attention to the small details, and truly examine the minutiae of the change.

Salt rocks undergo a long geological formation process which contains multiple stages. Firstly, eroded sediments sink into the water and end up on the bottom of lakes, seas and oceans. Thousands, sometimes millions, of years of deposition leads to a build up of sedimentary layers. Besides mining, there is another way of collecting salt. Harvesting from bodies of water - seas, oceans, and lakes. This process requires the excavation of pools where saltwater can be captured and evaporated by the sun and wind. The evaporation process leaves behind layers of salt crystals that can only be harvested at certain times of the year. In contrast to elements in the natural environment - such as the sun’s heat and the wind - in the artificial setting radiators, and air conditioning within the space exist. So too does the presence of the viewer affects air movement. Whilst the transformation of salt from solid to liquid, and back to solid state in the natural world usually takes a long period of time, the installation has accelerated this process to a matter of days. Just as labourers must wait for the right time of year, the change in the work requires patience to see the metamorphosis. The difference in the speed of dissolving in every object invites to navigate through space, to pay attention to the small details, and truly examine the minutiae of the change.

Salt rocks undergo a long geological formation process which contains multiple stages. Firstly, eroded sediments sink into the water and end up on the bottom of lakes, seas and oceans. Thousands, sometimes millions, of years of deposition leads to a build up of sedimentary layers. Besides mining, there is another way of collecting salt. Harvesting from bodies of water - seas, oceans, and lakes. This process requires the excavation of pools where saltwater can be captured and evaporated by the sun and wind. The evaporation process leaves behind layers of salt crystals that can only be harvested at certain times of the year. In contrast to elements in the natural environment - such as the sun’s heat and the wind - in the artificial setting radiators, and air conditioning within the space exist. So too does the presence of the viewer affects air movement. Whilst the transformation of salt from solid to liquid, and back to solid state in the natural world usually takes a long period of time, the installation has accelerated this process to a matter of days. Just as labourers must wait for the right time of year, the change in the work requires patience to see the metamorphosis. The difference in the speed of dissolving in every object invites to navigate through space, to pay attention to the small details, and truly examine the minutiae of the change.

Salt rocks undergo a long geological formation process which contains multiple stages. Firstly, eroded sediments sink into the water and end up on the bottom of lakes, seas and oceans. Thousands, sometimes millions, of years of deposition leads to a build up of sedimentary layers. Besides mining, there is another way of collecting salt. Harvesting from bodies of water - seas, oceans, and lakes. This process requires the excavation of pools where saltwater can be captured and evaporated by the sun and wind. The evaporation process leaves behind layers of salt crystals that can only be harvested at certain times of the year. In contrast to elements in the natural environment - such as the sun’s heat and the wind - in the artificial setting radiators, and air conditioning within the space exist. So too does the presence of the viewer affects air movement. Whilst the transformation of salt from solid to liquid, and back to solid state in the natural world usually takes a long period of time, the installation has accelerated this process to a matter of days. Just as labourers must wait for the right time of year, the change in the work requires patience to see the metamorphosis. The difference in the speed of dissolving in every object invites to navigate through space, to pay attention to the small details, and truly examine the minutiae of the change.