Anastasiia Ianson
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sculptural object
1.1
Shower Head, 2026
85 x 20 x 20 cm / bio-protein hair, shower head
A domestic object is shifted toward figuration through minimal intervention. Artificial hair replaces water, turning the "shower head" into a literal head and positioning it between utility and embodiment.
The object offers a tactile encounter with synthetic matter. The viewer may stand beneath a cascade of hair, entering a situation that oscillates between care and intrusion, desire and discomfort.
Through this displacement of function, the work reflects on phantom tactility — how artificial materials can assume bodily presence and become sites of affective projection. The object remains materially autonomous, yet invites intimate proximity.
Part of the ongoing project Synthetic Daydream.
The object offers a tactile encounter with synthetic matter. The viewer may stand beneath a cascade of hair, entering a situation that oscillates between care and intrusion, desire and discomfort.
Through this displacement of function, the work reflects on phantom tactility — how artificial materials can assume bodily presence and become sites of affective projection. The object remains materially autonomous, yet invites intimate proximity.
Part of the ongoing project Synthetic Daydream.
sculptural object
1.2
Lip Mug &
Cheek Saucer, 2026
Cheek Saucer, 2026
10 x 10 x 8 сm / d.12,5 cm / silicone
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sculptural object
1.3
Finger-clothespins, 2025
10.5 x 2 x 3 cm / plastic
Finger-clothespins combines a clothespin with fingers and refers to the phrase 'pinch me', a gesture used when reality feels doubtful or requires confirmation. The object imagines a tool that can perform this action when visual experience becomes unreliable.
The object functions as a working pinching mechanism and exists as an independent sculptural gesture. It is also integrated into Reality Check exposition as an instrument for testing constructed reality and introducing bodily verification into the act of looking.
The object functions as a working pinching mechanism and exists as an independent sculptural gesture. It is also integrated into Reality Check exposition as an instrument for testing constructed reality and introducing bodily verification into the act of looking.
2.1
photographic series & collages
Reality Check, 2025
Variable sizes / digital photographs
Reality Check is a project exploring a state of distrust toward reality and the gesture of testing it. The work focuses on moments when the familiar appears almost normal, yet something feels off.
The series combines urban photographs, collages, and studio images of a sculptural object: finger-clothespins. The object acts as a tool for bodily verification when the visual environment feels uncertain.
Images of everyday space alternate with constructed fragments, blurring the boundary between document and fabrication. Through minimal visual shifts, the work evokes a quiet but persistent sense of perceptual doubt.
Full series & exposition
The series combines urban photographs, collages, and studio images of a sculptural object: finger-clothespins. The object acts as a tool for bodily verification when the visual environment feels uncertain.
Images of everyday space alternate with constructed fragments, blurring the boundary between document and fabrication. Through minimal visual shifts, the work evokes a quiet but persistent sense of perceptual doubt.
Full series & exposition
2.2
interactive installation
House of Chaos, 2025
110×40×40 cm / plywood, cord light on battery
House of Chaos is a freestanding sculptural structure that responds to the viewer’s touch. Built as a simplified skeletal house, it balances on a curved base and begins to wobble when gently pushed.
The familiar form appears stable at first glance, yet its equilibrium is fragile and easily disturbed. The viewer’s interaction becomes a subtle but inevitable trigger: instability is not imposed but activated. Chaos becomes something we enter, initiate, and experience.
The work explores how stability is perceived and how minimal physical engagement can shift spatial and psychological orientation.
The familiar form appears stable at first glance, yet its equilibrium is fragile and easily disturbed. The viewer’s interaction becomes a subtle but inevitable trigger: instability is not imposed but activated. Chaos becomes something we enter, initiate, and experience.
The work explores how stability is perceived and how minimal physical engagement can shift spatial and psychological orientation.
Took part in exhibition The Great Disorder (December 2025 - January 2026). HSE Art Gallery, Winzavod Center for Contemporary Art, Moscow
2.3
photographic series & sculptural object
The Order
of The Good Girl, 2025
of The Good Girl, 2025
Variable sizes / Digital photographs, soft sculptures,
paper elements
paper elements
The project consists of a photographic series and six sculptural objects. It originates from my poem and a childhood photograph of me riding a wooden horse at the age of two. The images translate lines of the poem into staged visual situations.
At its core, the work reflects on how the body is shaped and transformed by social roles and expectations. Fairy-tale narratives are transplanted into the urban landscape, where naivety confronts external gazes, roles, and the scenarios into which the body is drawn.
Poem, full series & exposition
At its core, the work reflects on how the body is shaped and transformed by social roles and expectations. Fairy-tale narratives are transplanted into the urban landscape, where naivety confronts external gazes, roles, and the scenarios into which the body is drawn.
Poem, full series & exposition
2.4
intallation & video-performance
N1-N2-N3-REM, 2024
150 x 200 cm / textiles, graphite / 7 min video-performace
N1–N2–N3–REM combines installation and video performance. The title refers to the stages of sleep, yet instead of gradual descent into rest, the work presents fragmented movement and persistent wakefulness.
The textile structure functions as both environment and surface for projection, suggesting a body that seeks rest but remains unsettled. Insomnia appears as a physical condition marked by repetition, entanglement, and disrupted temporal flow.
Neither dream nor full consciousness, the work occupies a suspended state where stability dissolves and rest becomes unreachable.
Full video-performance & exposition
The textile structure functions as both environment and surface for projection, suggesting a body that seeks rest but remains unsettled. Insomnia appears as a physical condition marked by repetition, entanglement, and disrupted temporal flow.
Neither dream nor full consciousness, the work occupies a suspended state where stability dissolves and rest becomes unreachable.
Full video-performance & exposition
Took part in exhibition The Great Disorder, Part 2 (December 2025 -
February 2026). The Ekaterina Cultural Foundation, Moscow
February 2026). The Ekaterina Cultural Foundation, Moscow
projects on phone — photography
3.1
State Of Caution, 2026
Digital photographs
Photographic series examines the experience of living in a constant state of alertness. The project explores how subtle signals of danger become embedded in the urban environment and gradually shape everyday perception.
Using warning tape found in public space as a central element, the work reflects on how potential threats are marked, contained and normalized. These visual markers create zones where daily life continues under the quiet awareness of possible risk.
The project draws parallels between these spatial signals and the psychological atmosphere shaped by ongoing political and social tensions.
Full project
Using warning tape found in public space as a central element, the work reflects on how potential threats are marked, contained and normalized. These visual markers create zones where daily life continues under the quiet awareness of possible risk.
The project draws parallels between these spatial signals and the psychological atmosphere shaped by ongoing political and social tensions.
Full project
A sculptural element expanding this project
is currently in development using 3D printing technology.
is currently in development using 3D printing technology.
one-day projects on phone — video & photography
3.2
35 sec // Rue Brûlée, Strasbourg, France
Rozanova Was Here, 2025
I’ve always thought Rozanova’s Green Stripe was the most alive shape in avant-garde art — fresh and breathing. As a kid, I imagined it escaping the frame, running far beyond its edges, and ending in a flower.
In Strasbourg, I finally came across it, only it wasn’t endless at all, nor a flower. It turned out to be a green bike lane: short, cracked, fading into a crossing. That made it feel even closer to Rozanova’s own story — bright, remarkable, but far too brief.
Video follows my walk along green stripe, thinking about Olga’s presence and the fragile, fleeting traces women leave in art history — vivid yet vulnerable, present yet
at risk of vanishing.
In Strasbourg, I finally came across it, only it wasn’t endless at all, nor a flower. It turned out to be a green bike lane: short, cracked, fading into a crossing. That made it feel even closer to Rozanova’s own story — bright, remarkable, but far too brief.
Video follows my walk along green stripe, thinking about Olga’s presence and the fragile, fleeting traces women leave in art history — vivid yet vulnerable, present yet
at risk of vanishing.
one-day projects on phone — video works
3.3
It Just Rolled By, 5 sec // August 30, 2025
Holding Anyway, 5 sec // September 16, 2025
Holding Anyway, 5 sec // September 16, 2025
Minor Turbulence, 2025 -
Selected videos works from an ongoing monthly practice based on recording and reworking everyday urban environments.
I collect footage while moving through repeated daily routes, focusing on temporary constructions, markings, and unstable spatial situations that often pass unnoticed. Each evening, I reassemble the material using simple editing tools in Instagram, introducing subtle shifts through layering, repetition, and temporal distortion.
The videos function as perceptual experiments and as a way of tracking routine. Over time, the material forms a growing visual archive that informs larger projects.
I collect footage while moving through repeated daily routes, focusing on temporary constructions, markings, and unstable spatial situations that often pass unnoticed. Each evening, I reassemble the material using simple editing tools in Instagram, introducing subtle shifts through layering, repetition, and temporal distortion.
The videos function as perceptual experiments and as a way of tracking routine. Over time, the material forms a growing visual archive that informs larger projects.
illustration & zine
4
तत्र प्रत्ययैकतानता ध्यानम्, 2024
Unlimited edition / Sanskrit & English / 11×15,5 cm
Tatra pratyaya-eka-tānata dhyānam (PYS 3.2) — "When you focus your attention (psychic energy) on one object, or when you fix your mental suggestion on one idea and hold it there continuously without distraction, the result is meditation (dhyāna)."
This Yoga Sutra forms the foundation of the zine, which combines a meditation guide (a light-visualization practice) with a visual interpretation of sensations and thoughts that arise throughout the process. The zine follows a path through shifting meditative states: from chaos and mental entanglement to calmness and a return to reality in a renewed condition.
Full zine
This Yoga Sutra forms the foundation of the zine, which combines a meditation guide (a light-visualization practice) with a visual interpretation of sensations and thoughts that arise throughout the process. The zine follows a path through shifting meditative states: from chaos and mental entanglement to calmness and a return to reality in a renewed condition.
Full zine
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