Katika, creates around themes of contrast, transformation, the connection between humans, objects and ideas, the conflict between form and content, old and new, practical and impractical, rational and irrational. Katika’s art is informed by the abundance of creative energy and ideological chaos in the post-soviet territories, as well as by unique qualities of her medium of choice. By implementing an art language of her creation and using threads to represent the fabric of reality and all kinds of connections both piercing it and tying everything together, Katika embarks on a journey of self-discovery time and time again.
Katika’s world is filled with disconnected images, with longing for warmth and human connection, with reflections on the nature of fame, icons of the past and present day, with frail remnants of fame and greatness, represented with stray threads and fading colors. Taking advantage of crochet art, Katika uses the audience’s perception of crochet pieces as harmless, cozy, practical items of décor or clothing, to create a seeming contradiction between the form and the content of every piece. The feeling of frustration, felt by the audience, seeing impractical works of art under the guise of relatively practical handiwork, contributes to interpreting Katika’s works, which, be it conceptual series of works or individual pieces, are all connected with the common theme of untamed creative energy taking up familiar shapes.
The artist herself describes her creative process in such words: “I go farther and farther along my life path, reach out into chaos, pull a thread out of it and spool into an incredible skein and then create my art. Sometimes I make beautiful pieces. It does not have a practical use but exists to make your life brighter, to make amuse, and to captivate you. I should not be careless, because you feel angry and slow your pace.”