Yulia Rotkina
Where do you live: London, UK.
Your education:
University of Arts London, MA Fine Arts: Sculpture.
University of Exeter, BA Psychology.
Describe your art in three words: Transience, Memory, Connection.
Your discipline: Installation, video art, mixed media art.
Your work combines both two and three-dimensional elements. What led you to explore this intersection of mediums, and how do you feel it enhances your artistic expression?
We live in a three-dimensional world (with time as the fourth dimension), yet most of our ideas are confined to a two-dimensional space, existing on screens or within the frames of paintings and photography in museums or galleries. This contrast fascinates me and led me to explore the intersection of two and three-dimensional elements in my work. By combining painting with sculptural and assemblage elements, I aim to bridge this gap creating a more immersive experience that reflects both the physical and intangible aspects of human existence.
Many of your installations seem to address complex themes such as memory, identity, and human struggle. How do you decide which themes to explore in your work?
The themes I explore in my work—memory, identity, and human struggle—are deeply influenced by my background in psychology, where I developed a sensitivity to human trauma. My personal history also plays a significant role in shaping these explorations. I’ve come to understand that these themes are not isolated or individualistic; they are collective experiences that bind us all. In my art, I aim to translate these shared struggles and emotions into a visual language that allows others to connect with and reflect on their own experiences. By engaging with these themes, I hope to foster a dialogue about the human condition, offering a space for empathy and understanding.
Yulia Rotkina | What Went Down The Drain | 2021
Can you share your creative process when conceptualising a new installation or painting? How do you translate your ideas from thought into physical form?
The mystery of where ideas come from has always been a question I can’t fully answer. However, once a concept or even a strong feeling toward something settles in my mind, I take action by first conceptualising the emotional and intellectual core of the work through rough, “ugly” drawings—the uglier, the better. Once the core idea becomes clearer, I select the materials and techniques that will best bring it to life—often combining two- and three-dimensional media, found objects, and unconventional materials. If it’s an installation, I think about the space and how to make the intangible aspects of the idea fit within it. The process is fluid; it evolves as I engage with the work physically, allowing me to refine and expand on my initial thoughts as the piece develops.
You often use found materials and unconventional mediums in your installations. How do these materials play a role in the storytelling of your art?
Found materials and unconventional mediums are central to my art practice. They carry their own histories and associations, adding depth and meaning to the work. By repurposing these materials, I connect the past with the present, allowing the viewer to engage with the piece not just visually, but emotionally. Each material brings its own narrative to the installation, often evoking a sense of memory that viewers might personally relate to. Using found objects blurs the line between the everyday and the artistic, encouraging the viewer to reflect on the familiar in a new context. These materials become active participants in the narrative, enhancing the themes I explore and creating a more immersive experience for the audience.
Yulia Rotkina | Self-Identity I | 2024
Your art seems to create an immersive experience for viewers. How do you intend for people to interact with or reflect upon your work?
My intention is for viewers to engage with my work on both an intellectual and emotional level. I aim to create an environment that invites reflection and connection, allowing the viewer to experience the piece not only visually, but also through their own personal associations and memories. The use of space, materials, and layered media is designed to draw the viewer in and foster a more intimate engagement. I hope the work sparks personal memories and prompts reflection on our shared human experience. Ultimately, I want my art to serve as a catalyst for thought, where the viewer’s emotions and interpretations contribute to the ongoing conversation the work evokes.
As someone who transitioned from psychology and filmmaking into art, how have these previous fields influenced your approach to art-making?
Psychology has provided me with a unique lens through which I approach every theme. I actively seek out subjects that affect us on a deep, sensitive level—things that trigger or soothe us, as humans in general. Filmmaking, on the other hand, has helped me think about narrative structure and the importance of timing, atmosphere, and movement within my work. I often create video works in conjunction with my installations. It also taught me how to engage with my audience through visual storytelling, a skill I carry over into my installations and paintings. These fields have combined to shape a practice that is both introspective and immersive, where the emotional and intellectual core of the work takes precedence.
Yulia Rotkina | Self-Identity II | 2024
How does the fleeting nature of existence influence the emotional atmosphere of your works?
The fleeting nature of existence is a central theme in my work, and it deeply influences the emotional atmosphere I aim to create. I’m drawn to moments of impermanence—those brief, fragile experiences that define human life. This idea of transience often shapes the tone of my work, infusing it with a sense of urgency or melancholy. The materials I use, along with the layering of two and three-dimensional elements, are intended to evoke a feeling of instability, as if the work itself is on the verge of disintegration or change. I want the viewer to feel that nothing is fixed, that time and memory are constantly shifting, and that the emotional resonance of the piece is a reflection of this transitory nature. Ultimately, I hope to evoke a sense of both fragility and resilience, inviting reflection on the impermanence of our own lives and experiences.
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