Tique | art paper asks six questions to an artist about their work and inspiration.
This week: Anastasia Sosunova.
Lives in Vilnius, Lithuania
How do you describe your own art practice?
I use sharp moments to speak about slow processes. My installation, sculpture and moving image practice translates between scales, manipulating personal stories and subtle material gestures, following through their entanglements in vaster tales. These are tales about how communities and identities are formed, subsist and come undone. For the most part, this is a practice of noticing and knowing intimately our contexts, and the ways in which we interact with them.
What was your first experience with art?
It isn’t easy to decide which exact contact with an art form could be called that way: was it growing up surrounded by my dad’s self-taught landscape paintings which he was making during his night shifts? Or experiencing a sculpture at the school yard as a perfect climbing structure, matching all positions of my body? Or later, being a teenager, visiting Contemporary Art Center and feeling rather uncanny?
What is your greatest source of inspiration?
All the contrasting and mismatching parts of my immediate surroundings – clashes of traditions, trends, materials and communication styles.
What do you need in order to create your work?
I usually need a workshop or a studio space. Other than that, purposeless walks and a smartphone for collecting footage are things I can’t do without.
What are you working on at the moment?
I’m just about to finish working on some of my first texts that were hanging out in my head for a while. Meanwhile, I’m in the process of producing a series of new sculptures, trying to articulate new sensitivities to objects and bodies in private and public spaces.
What work or artist has most recently surprised you?
Evgeny Antufiev’s work at the Baltic Triennial 13 last year, it changed some of my old assumptions about art inspired by archeology, and I’m very grateful for that.